PS 3529 

S16S7 RRY OSBORNE 

11922 

Copy 1 """" 



"STEP OUT-JACK!" 




A COMEDY IN THREE ACTS 



WALTER H. BAKER COMPANY, BOSTON 



' STEP OUT— JACK ! " 



"Step Out- Jack!" 

A Three Act Comedy 



HARRY 9SBORNE 

Author of "When Smith Stepped Out," "The 

Deacon Entangled," "Peter," "Curl Papers," 

"The First Grave Digger," "Whipsawed," 

"How to Stage a Play" etc., etc. 




WALTER H. BAKER COMPANY 

Publishers of Things Theatrical 

BOSTON, MASS. 

1922 



i — ^ ^^ ^. I 

,15igSy 



FEB -41922 
©CID 59844 



IMPORTANT ANNOUNCEMENT 

The acting rights of this play are strictly reserved. Per- 
formance may be given by amateurs on payment to the 
author of a royalty often dollars (^gio.oo) for the first per- 
formance or fifteen dollars ($15.00) for two performances. 
Correspondence on this subject should be addressed to the 
publishers. 

The professional stage-rights and moving picture rights 
in this play are strictly reserved by the author. Applica- 
tions for its use should be addressed to the author in care 
of the publishers. 



Attention is called to the penalties provided by the Copy- 
right Law of the United States of America in force July i, 
1909, for any infringement of rights, as follows : 

Sec. 38. That any person who wilfully and for profit shall in- 
fringe any Copyright secured by this Act, or who shall knowingly 
and wilfully aid or abet such infringement, shall be deemed guilty 
of a misdemeanor, and upon conviction thereof shall be punished 
by imprisonment for not exceeding one year or by a fine of not 
less than one hundred dollars, or both, at the discretion of the 
court. 

Sec. 29. That any person who, with fraudulent intent, shall 
insert or impress any notice of Copyright required by this Act, or 
words of the same purport, in or upon any uncopyrighted article, 
or with fraudulent intent shall remove or alter the copyright 
notice upon any article duly copyrighted shall be guilty of a 
misdemeanor, punishable by a fine of not less than one hundred 
dollars and not more than one thousand dollars. 




Copyright, 1922, by Harry Osborne 

All rights reserved. 



"Step Out— Jack! 



CHARACTERS AND CHARACTERISTICS 

Jack Rysdale, Age twenty-four, medium height, 
slender, good looking, retiring disposition hut 
pleasing manner and personality. 

Russell Watson Wilder, Age forty-two, a Get- 
rich- quick-man, tall, well-built, -with a ready 
smile and a genial, easy, confident manner. 

Percy Lyons, Age thirty-five, somewhat effeminate 
and supercilious in speech and manner. 

Mr. Seamons, Age forty-five, ordinary type of city 
business man, excitable and blunt. 

John Galloway, Age fifty, growing stout, slightly 
gray. A successful business man about ready 
to retire. 

Clarence Galloway, His son, age twenty-one, slen- 
der, boyish, eager to please. 

Collins, Age forty-seven, a big, burly, gruff police- 
man zvho has graduated into a Deputy Sheriff. 

Harris, The Butler, age fifty-five, smooth shaven, 
gray hair, concise and quiet in speech and 
manner. 

Buddie, The office boy, age fourteen, but looks and 
talks older. Must be short and fat or heavy 
set. Sophisticated. 

A Painter, \ 

An Electrician, r Ordinary types of working men. 

Two Teamsters, ) 

Mrs. Galloway, Age forty-eight, becoming plump 
but retaining all her good looks. A gracious 
hut somewhat erratic manner. 



VI SYNOPSIS 

ZoE Galloway, Her daughter, age twenty-three, a 
handsome and perfectly poised young lady, ra- 
diating sweetness and charm. 

Cynthia Barnett, Her chum, age twenty-one, small, 
vivacious with charming girlish manner. 

Miss Roberts, Age thirty, pretty, neat and attractive. 
Her business training shows in her quick, de- 
cisive speech and manner. 

Miss Williams, Age thirty-five, plain hut does her 
best to appear attractive without much success. 
Self-conscious, affected. An unsuccessfid 
man-hunter. 



SYNOPSIS 



Act I. — The private office of Russell Watson 
Wilder, twelfth floor Realty Building, New York 
City. Morning. 

Act II. — John Galloway's library, Riverside Drive. 
Ten days later. Evening. 

Act III. — Rysdale's office, fourteenth floor Realty 
Building. The following morning. 
Time. — The Present. 
Place. — New York City. 
Time of Playing. — Two hours and twenty minutes. 



STORY OF THE PLAY 

It seems in this world that Fortune favors wealth 
and success rather than modesty and virtue and, 
therefore, this play is of practical help and encour- 
agement to the ambitious young man or woman striv- 
ing to get a start in life. 

Jack Rysdale fell in love with Zoe Galloway when 
he chummed with her brother Clarence in college. 



STORY OF THE PLAY vii 

Jack worked his way through college, while Zoe and 
Clarence came from a wealthy family. After leaving 
college, Jack went to New York and made a start in 
business, hoping to win success and the girl of his 
choice. He promptly failed in business and then 
drifted from one job to another, going a little lower 
each time. He grew down-hearted and discouraged. 
Too proud to acknowledge his failure to Zoe or his 
old chum, Clarence, and too independent to ask for 
help, he has avoided meeting them for six months. 
When the play opens we find him broke and ready to 
give up and go back to his home town in the West. 

As a last resort he starts selling books and wanders 
into the office of Mr. Wilder, a successful but un- 
scrupulous stock promoter, who gives him an entirely 
new philosophy and view-point of life. Wilder only 
takes a passing interest in Jack until he discovers 
that he is acquainted with the Galloway family. Rich 
men are Wilder's prey, and in order to gain an intro- 
duction to Galloway, he stakes Jack to five hundred 
dollars. Jack is to spend the money on himself so 
that he will appear prosperous and successful when 
he again meets the Galloway family and introduces 
Wilder. At the same time, Jack learns that he has 
a rival in Lyons, who is making desperate love to Zoe. 

A few hundred dollars and Wilder's rough philos- 
ophy work a wondrous change in Jack. Zoe's inter- 
est in him is renewed, he gets wind of a big business 
deal in which Zoe's father and Lyons are involved 
and the race is on. Wilder is trying to sell Galloway 
his wildcat stock; Lyons is trying to close his deal 
with Galloway and win his daughter besides ; Jack, 
with only his nerve and his love for Zoe, steps out, 
takes the middle of the road and, with the odds all 
against him, gets a new start in business and wins 
Zoe's respect and love. 



DRESS AND COSTUMES 

Jack Rysdale. In First Act, shabby business suit 
in need of pressing, shoes worn off at the heels and 
need pohshing; gray felt hat in need of blocking; 
black tie. Second Act, immaculate evening clothes. 
Third Act, neat, perfectly fitting business suit, new 
shoes, bladk and white tie. 

Russell Watson Wilder. In First Act, light, 
well-tailored business suit. Second Act, evening 
clothes. Third Act, same as Act One. Small, black 
mustache. 

Percy Lyons. In First Act, English walking coat, 
striped trousers, striped tie, spats, derby hat. Second 
Act, evening clothes. Third Act, dark-colored busi- 
ness suit, fancy vest, spats, light-colored soft hat. 

Mr. Seamons. First Act, dark-colored business 
suitj soft hat. Third Act, same. 

John Galloway. Second Act, evening clothes, 
with Tuxedo coat. Third Act, dark business suit, 
dark soft hat. 

Clarence Galloway. Second Act, evening dress. 
Tuxedo. Third Act, business suit. 

Collins. Third Act, full Uniform. 

Harris. Second Act, evening clothes, with black 
and white striped vest. 

Buddie. First and Third Acts, brown corduroy 
suit. 

Painter, Electrician and Teamsters. Charac- 
teristic working clothes. 

Mrs. Galloway. Second Act, dark-colored even- 
ing gown. 

ZoE Galloway. Second Act, light evening gown 
and wrap. Third Act, colored silk sweater, white 
silk skirt, white shoes and stockings, sports hat. 

viii 



PROPERTY LIST ix 

Cynthia Barnett. Second Act, light evening 
gown and wrap. Third Act, colored silk sweater, 
in contrast with the one worn by Zoe, sports skirt and 
hat, white shoes and stockings. 

Miss Roberts. First Act, white shirt-waist, dark 
blue serge skirt. 

Miss Williams. Third Act, light-colored suit, 
white shirt-waist, wide-brimmed hat. 



PROPERTY LIST 

Act I 

Letter in envelope and pile of correspondence for 

Miss Roberts. 
Cigars in humidor for Wilder. 
Bank-notes for Miss Roberts. 
Baseball pass-check for Wilder. 
Small satchel or sample-case containing props for 

Rysdale. 
Pad of contract blanks for Rysdale. 
Cane and newspaper for Wilder. 
Revolver for Seamons. 
Check for Miss Roberts. 
Stock certificates in drawer of Wilder's desk. 
Contract blank for Buddie. 

Act II 

Tray with coffee service for Harris. 
Card tray with calling card for Harris, 
Check for Clarence. 
Shaker and cordial glass for Clarence. 
Note-book and pencil for Wilder. 
Cigars for Wilder. 



PROPERTY LIST 

Cigarettes and matches for Clarence. 
Cigarette box and matches on table. 

Act III 

Five-cent piece for Clarence. 

Four pennies for Rysdale. 

A small set of Encyclopedia, about twelve or fif- 
teen volumes, for Buddie. 

Office supplies for Clarence, pens, pencils, ink- 
wells, spindles, stationery, etc. 

Cigarettes and matches for Clarence. 

Typewritten sheet of paper for Clarence. 

Cigars for Galloway. 

Bottle of ink for Miss Williams. 

Blank check for Miss Williams. 

Legal-looking document for Collins. 

Hand-bag, containing powder puff, mirror and a 
five-cent piece for Miss Williams. 



HALL BACKING 




D 

BOOK CHAIR 

SHELVES 



L.R.P* 




CIUIR 



ACT I. 




HALL BACKIITG j^^jj 

FIRE-PLACE* 



Q CHAIR CHAIR I I 

I" TABLB ""{ 

I DAVEITPORT I 



AT BACK 



CHAIR 




ACT IX. 



HALL 



BACKn-TG 




ACT III. 
STAGE SETTING 

Note. The set for Act III,,l3 made by simply reversinc 
the riopit and left flats of tlie set for Act I, 



"Step Out-Jack!" 



ACT I 

SCENE. — Private office of Russell Watson Wil- 
der, Stock Promoter, twelfth floor Realty Build- 
ing. There is a window at l. c. showing the 
walls and roofs of other buildings. A door at 
L. R. leads into the general office and on the 
ground glass panel the word "Private " shows 
through. Another door at c. leads into the hall, 
on the panel of which the words "Russell Wat- 
son Wilder, Stocks, Bonds, Lands, Private " 
show through. A mahogany roll-top desk is 
placed diagonally across the l. u. corner of the 
office. Directly in front of it is a flat-top desk. 
There is a swivel chair between the two desks. 
Straight chairs at both ends of fiat-top desk and 
another one up r. Book-shelves against right 
wall above door, containing few books, maga- 
zines and specimens of ore. On the fiat-top desk 
is the telephone, a small card file cabinet, ash 
tray, buszer, also a strip of green plush on which 
are samples of ore. The roll-top desk has the 
usual furnishings, together with a cigar humidor. 
There is a hat-tree up c, just l. of c. door. The 
walls are adorned with a number of enlarged 
photographs of outdoor scenes, mining camps, 
farm lands, timber tracts, etc. There is a small 



2 '' STEP OUT— JACK ! "^ 

framed photograph of a prize fighter over the 
roll-top desk. Large oriental rug covers greater 
part of the floor. 
At the rise of the curtain Miss Roberts^ a business- 
like young lady of about thirty, is seated at desk, 
facing front, and is just finishing the opening of 
the morning's mail. She has arranged the cor- 
respondence in three neat piles and is slitting the 
last envelope. As she reads the letter, she 
presses the buzzer with her left hand. Buddie, 
the office boy, enters r. door and comes up to the 
desk. He is about fourteen years old, illiterate, 
sophisticated, wearing an habitual frown and 
completely absorbed in his own affairs. Miss 
Roberts places the letter she is reading onto the 
middle pile and hands the pile to Buddie. 

Miss Roberts. 
Put these on my desk. [Buddie accepts them 
mechanically zvithout looking up and Miss Roberts 
then hands him the pile at l.] Hand these to Miss 
Smith. [Buddie turns and starts r. Miss Roberts, 
sharply.] Don't get them mixed. 

Buddie. 
[Turning at r. door.] Say, Miss Roberts. 

[Miss Roberts is transferring the remaining 
pile of letters to the roll-top desk and has 
her back to him. 

Miss Roberts. 
Yes, Buddie. 

Buddie. 
[Confidentially. ] Is Mr. Wilder going to be down ? 



''STEP OUT— JACK!" 3 

Miss Roberts. 
[Putting a paper-weight on letters.] I think so; 
why ? 

Buddie. 
[Disappointed.] You told dem guys glued to de 
bench out there you weren't sure. 

Miss Roberts. 
[Facing him.] They don't enjoy my confidence 
the way you do, Buddie. 

Buddie. 
[Hopelessly.] Gee, I wish de boss would lay off 
onct in a while. 

Miss Roberts. 
Why, what's the matter? 

Buddie. 
I want to get off dis afternoon. 

Miss Roberts. 
Surely you haven't lost any more relatives? 

Buddie. 
Naw, but honest, Miss Roberts, dere's some old 
pals; some old friends of mine coming to town. I 
ain't seen 'em for a terrible long time and dey'll be 
disappointed if I don't meet 'em. 

Miss Roberts. 
Where did you say you wanted to meet them ? 

Buddie. 
[Confused.] Huh, where did I say 



4 ''STEP OUT—JACK!" 

Miss Roberts. 
Did you say you wanted to meet them at the Polo 
Grounds ? 

Buddie. 
Aw, you're getting worse than Mr. Wilder. 

Miss Roberts. 
Be frank now, Buddie; aren't these friends of 
yours the New York Giants ? 

Buddie. 
[Rapidly and waxing earnest.] Yes, they're the 
" Gints " ; the best friends I got. I got to be there. 
I helps them win. They've only got to take six more 
games to grab the pennant. If I ain't there to pull 
f er them, to tell 'em when they pull a boner, they may 
drop a game, they might lose de pennant. 

Miss Roberts. 
I had no idea it was so serious. 

Buddie. 
If dey don't win I'm ruined. 

Miss Roberts. 
Ruined? 

Buddie. 
I got sixteen dollars up on 'em. 

Miss Roberts. 
You mean you bet sixteen dollars on them? 

Buddie. 
Sure, with de dago out in de elevator. 



''STEP OUT—JACK!'* 5 

Miss Roberts. 
That's a lot of money. 

Buddie. 
Don't I know it — can't you see I got to protect my 

interests? [Telephone rings — she takes it. 

Miss Roberts. 
I'll speak to Mr. Wilder, Buddie. 

Buddie. 
Will you, Miss Roberts ? Gee, you're all right. 

[Exit Buddie r. door. 

Miss Roberts. 

[Over telephone.] Hello Yes Who is 

it, please? Oh yes, Mr. Seamons Mr. 

Wilder is not in just now, but I expect him in a few 

minutes Yes All right, I'll tell him you're 

coming right over Good-bye. [She hangs up. 

Makes notation on pad and tears it off. Arranges 
things on desk and rises with memorandum in her 
hand and coming around lower end of desk, starts for 
R. door as Wilder enters c. door. He is a large man, 
tall and well built, but quick and light in all his move- 
ments. Over forty years old, small black mustache, 
light business suit, well tailored. Has a genial, pros- 
perous, confidential air about him. He at once hangs 
his hat and stick on the hat-tree. Lays newspaper 
on desk.] Good morning, Mr. Wilder. 

Wilder. 
Hello ; lots of mail ? 

Miss Roberts. ' 

It's getting heavier every day. 



6 ""STEP OUT— jack! ^' 

Wilder. 
\Pausing on way to desk.] Good, Any ah — 
[Motioning toward r. door.] patients? 

Miss Roberts. 
Three. They were here when I opened the office. 

Wilder. 
[Reprovingly.] Early worms — deserve to be 
caught. 

Miss Roberts. 
They all want to buy Tungsten Consolidated. 

Wilder. 
[Taking cigar from humidor. ] Little fellows, eh ? 

Miss Roberts. 
I suppose so. 

Wilder. 
[Lighting his cigar.] No, no, I can't bother with 
them. It takes just as long to extract their roll and 
they only make trouble. In a week they're around 
whining for dividends or their money back. They 
make one feel like a confounded robber. 

Miss Roberts. 
[Starting to go r.] What shall I tell them? 

Wilder. 

^ Say it's all sold — I'm out of town; anything to get 
rid of them. 

Miss Roberts. 
Yes, sir. 



''STEP OUT— JACK ! " 7 

Wilder. 
After this, don't even tell me about them. It's big 
game or nothing, from now on. 

Miss Roberts. 
Yes, sir. {Referring to memorandum.] Mr. Sea- 
mons just telephoned. He's coming over inside of 
half an hour. 

Wilder. 
He bought Tungsten, didn't he? 

Miss Roberts. 
Yes. 

Wilder. 
Never should have sold him ; he's too small to be a 
good loser and big enough to make trouble. 

Miss Roberts. 
Will you see him ? 

Wilder. 
Certainly. Call up Lyons and have him come right 
over. He's responsible for these little fellows run- 
ning in here and it's up to him to stop it. [Miss 
Roberts goes to r. door. Wilder, smiling.'] You 
might bring in the Tangle-foot. 

Miss Roberts. 
[ Turning. ] Tangle- foot ? 

Wilder. 
You know — green and yellow — screaming eagles — 
about a thousand. 



8 "STEP OUT— jack!*' 

Miss Roberts. 
Oh, you mean the money. [Wilder nods and 
Miss Roberts exits r. door. Wilder sits at his desk 
and becomes absorbed in the mail, making a notation 
on each letter after reading. Miss Roberts reenters 
r. door in a few moments, carrying a handful of pa- 
per money which she arranges on the flat-top desk 
in a manner indicating that she has done it before.] 
Tangle-foot ! 

Wilder. 
They can't get away from it. 

Miss Roberts. 
How is that? 

Wilder. 
They see the money; they see the ore; money is 
made from ore ; they get the connection ; buy ore, 
make money. I turn on a strong current of talk; 
their feet get tangled and — sometimes — they buy 
stock. 

[Miss Roberts laughs and starts to exit r., but 
turns back. 

Miss Roberts. 
Oh, Buddie wants to go to the game this afternoon ; 
I promised to ask you. 

Wilder. 
[Musing.] I wonder how many games he's missed. 

Miss Roberts. 

He thinks his presence necessary to make them 
win. 



'' STEP OUT— JACK ! " 9 

Wilder. 
There may be something in that. Send him in. 
[Miss Roberts exits r. door. Wilder bends over his 
mail and in a moment Buddie enters r. door and 
stands at a respectful distance, waiting for Wilder 
to look up. Wilder, not looking up.] Bud, how 
many games have you missed this season? 

Buddie. 
[Twisting uneasily.] Why — I — ah — I've — ah 

Wilder. 
[Sharply.] Speak louder, I don't hear you. 

Buddie. 
[Boldly.] Seventeen innings, altogether. 

Wilder. 
[Looking up.] Is that all? 

Buddie. 
It's almost two hull games. 

Wilder. 

At that, you've seen a part of every game, haven't 
you? 

Buddie. 
[Burning his bridges.] Yes, sir. 

Wilder. 

But sometimes business interfered and you missed 
a few innings? 

Buddie. 
Yes, sir. 



lO ''STEP OUT—JACK !" 

Wilder. 
\Sternly. ] What do I pay you — eighteen dollars a 
month ? 

Buddie. 
[Swallowing hard. ] Yes, sir. 

Wilder. 
What do you do with your afternoons when the 
Giants are on the road? 

Buddie. 
I — I work harder than ever to — to 

Wilder. 
[Interrupting.] To learn the score. You keep my 
telephone busy all afternoon so my customers who 
want to talk business can't get on the line. Isn't that 
right ? 

Buddie. 
[Recklessly.] Aw, go on, fire me if you want to. 

Wilder. 
Do you think the Giants are going to win the pen- 
nant? 

Buddie. 
They only got to take six more games. 

Wilder. 
If I fired you now would you go to the game this 
afternoon ? 

Buddie. 
[Brightening up.] Why sure. 

[Wilder takes a season's pass from his vest 
pocket and tosses it across the desk. 



*♦ STEP OUT— J A CK !" II 

Wilder. 
Take that and get out of here. 

Buddie. 

[Taking it.\ A pass to the grand stand! 

[Buddie hacks away too overcome -for words 
and bumps into the book-shelves. 

Wilder. 
As soon as the game is over, get to the nearest tele- 
phone and give me the score. Can you do that ? 

Buddie. 
[Huskily.] Can I do it? Oh, Mr. Wilder! 

[Buddie makes a dab at his eyes and exits r. 
door quickly. Wilder looks after him a 
moment and then resumes his mail. Miss 
Rorerts enters r. door. 

Miss Roberts. 
A Mr. Rysdale to see you. 

Wilder. 
What's the name? 

Miss Roberts. 
Rysdale. 

Wilder. 
Rysdale ? I don't know him. 

Miss Roberts. 
He wouldn't tell me his business. 

Wilder. 

Find out what he wants. 

[Miss Roberts exits r. door. Wilder looks 



12 ''STEP OUT— jack!" 

through the R's in his card cabinet. Miss 
Roberts reenters r. door. 

Miss Roberts. 
He says he wants to see you on important private 
business. 

Wilder. 
You tell him I haven't any important private busi- 
ness. 

Miss Roberts. 
Yes, sir. [She turns and starts to exit R. 

Wilder. 
What does he look like ? 

Miss Roberts. 
He's a young man. Has a rather interesting face, 
but is poorly dressed and carries a satchel. 

Wilder. 
No, I can't be bothered. [Miss Roberts exits r. 
door. Telephone rings and Wilder answers it.'\ 

Hello Yes, Lyons Fine Are you 

coming over ? Yes, I w^ant to see you I'll be 

here Good-bye. [Again Wilder bends over 

his mail. Centre door opens quietly and Rysdale 
steps carefully in. He starts to close the door as 
carefully as he opened it, but looks at Wilder, thinks 
he better plan a quick getaway, and opens it a little. 
He is twenty-four years old, slender, looks tired and 
worried, his shoidders droop. He wears a shabby 
suit of clothes much in need of pressing. His shoes 
need a polish and are worn off at the heels. His hair 
is too long and he wears a battered gray felt hat. He 



« STEP OUT~JA CKl" 1 3 

carries a cheap little satchel. His face shows breed- 
ing and refinement and he speaks well. He stands 
timidly waiting for Wilder to look up and ready to 
turn and run. Wilder at last looks up.] Well, how- 
did you get in ? 

Rysdale. 
I — I walked in. 

Wilder. 
Where? 

Rysdale. 
Through — through the door. 

Wilder. 
Which door? 

[Rysdale backs up a little and never taking 
his eyes off Wilder motions over his shoul- 
der with his thumb. 

Rysdale. 
This one. 

Wilder. 
Don't you know that I had the word " private " put 
on that door to keep fellows like you — out ? 

Rysdale. 
No, sir ; yes, sir. 

Wilder. 

If you have any business here, go around and come 
in the other door. 

Rysdale. 

Yes, sir. I tried that door but the young lady 

Are you Mr. Wilder? 



14 '' STEP OUT— JACK ! " 

Wilder. 
\Rxsmg.\ Is your name — ah — Rysdale? 

Rysdale. 
[Backing off.] Yes, sir. 

Wilder. 
If you're not careful, young man, a coldness is go- 
ing to spring up between us. 

Rysdale. 
Well, you see I have a very important per- 
sonal 

Wilder. 
[Interrupting sharply.] What's your business? 

Rysdale. 
Why, I — I'm a book agent. 

Wilder. 
A book agent ! You have your nerve. 

Rysdale. 
Not very much. 

Wilder. 
What's that ? 

Rysdale. 
I mean I haven't very much nerve. 

Wilder. 
If you had any more, you'd be going around with 
a jimmy and a stick of dynamite. 

Rysdale. 
I don't want to sell you any books. 



''STEP OUT— JACK 1 " 1 5 

Wilder. 
You bet your sweet life you don't. 

{Quickly Rysdale takes a hook agent's 
stretcher, shozmng the backs of the volumes, 
from his coat pocket and holding it ex- 
tended, gives the following rapidly, as 
though reciting a lesson. 

Rysdale. 
I want to give you this beautiful and useful ency- 
clopedia, sixteen volumes, that's the way they'll look 
in your library, magnificently bound in rich Venetian 
cloth, hand sewed throughout, containing the latest 
and most authentic information on all subjects, fully 
illustrated and endorsed by Andrew Carnegie, Theo- 
dore Roosevelt and Woodrow Wilson I — I 

want to make you a present of it. 

Wilder. 
[Amused in spite of himself.] What for? 

Rysdale. 
Because I want you to have it. You see, it's a lim- 
ited edition and we want to introduce it to a few rep- 
resentative business men who will appreciate it. 

Wilder. 
Why pick on me ? 

Rysdale. 
The books don't cost you a cent and — I thought 
you might like them. 

Wilder. 
So you really v/ant to give me these books ? 



1 6 "STEP OUT— jack!'* 

Rysdale. 
[Hopefully.] Yes, sir. 

Wilder. 

All right, I'll let you. 

[Rysdale quickly drops the stretcher and 
takes a pad of contract blanks from his 
pocket. 

Rysdale. 
Just sign your name on that dotted line. 

Wilder. 
[Reading the contract.] Two years subscription 



to the " Sun Rise Weekly " 

Rysdale. 
Only five dollars, regular price seven dollars and 
fifty cents. We deliver the books free of charge and 
the magazine comes every week. 

Wilder. 
[Thoughtfully.] It's a wonder they don't get up 
something new. 

Rysdale. 
Oh, it's a brand new encyclopedia, just off the 
press. 

Wilder. 
No, no, I just strung you along to see what you 
had. I'm in the selling game myself and always look- 
ing for new ideas. 

Rysdale. 
But you want the books, don't you ? 



"STEP OUT— JACK ! " 1 7 

Wilder. 
Of course not. Do you ever sell any? 

Rysdale. 
I've only been at it a week and two parties told me 
to call again. 

Wilder. 
Don't do It ; they'll be waiting for you with a piece 
of lead pipe. 

Rysdale. 
[Opening Ms satchel] If you won't take the 
books perhaps I can sell you one of these patent 
combination coat and trouser hangers. [He holds 
up a nickel-plated contrivance.] Keeps the coat in 
shape and the trousers pressed. Only thirty-five 
cents complete. [Wilder hursts into a roar of 
laughter, hut Rysdale never cracks a smile.] Did 
I say something funny ? 

Wilder. 
You don't need to say a word to be funny. What 
ever made you think you could sell books and that 
kind of truck ? 

Rysdale. 

The sales agent said I could make at least five dol- 
lars a day. 

Wilder. 
You're lucky if you're not murdered. 

Rysdale. 
What do you mean? 



1 8 ""STEP OUT— jack!** 

Wilder. 
{Sitting.'] You're not big enough for a book 
agent. You should weigh at least two hundred 
pounds. 

Rysdale. 
I fail to see what weight has to do with it. 

Wilder. 
That's because nobody's kicked you out yet. 

Rysdale. 
Just because you don't want to buy anything you 
needn't try to make fun of me. 

Wilder. 
Now don't get peevish, young fellow. You blun- 
dered in here and took up my time with your fool 
selling talk, but instead of firing you out as I should, 
I'll give you some good advice and it won't cost you 
anything. 

Rysdale. 
\Gloom%ly.\ Oh, I can get all the advice I want. 

Wilder. 
Can you get it from the right kind of people? 
Maybe you don't know who I am, so I'll tell you that 
I never had even a common school education. I 
grew up in a western mining camp, was kicked 
around, everybody's dog. Every lesson I ever 
learned was dug out of the Book of Life and look 
at me now. I pay two hundred and fifty dollars a 
month for these offices. I have a suite of rooms in 
the finest hotel in town. It costs me six hundred 
dollars a month just to live ; and I'm making money, 



^STEP OUT'-JACK ! ** 19 

too. Why? Because I'm successful. I've had 'em 
all after me. Postal authorities, special agents, pri- 
vate detectives, but they can't get me, and why ? Be- 
cause I know how to fight for my rights. Now if 
you think my advice isn't worth anything, sneak out 
as quietly as you came in. 

Rysdale. 
I'm a failure at everything I ever tried. I would 
like to have your advice. 

Wilder, 
Sit down. Now in the first place, you take your- 
self too damned seriously. You need a little smiling 
enthusiasm. Whether you're driving a truck, fighting 
a battle, dancing around a ticker tape, or selling 
books, you've got to pretend to like it. It's easy 
enough to smile when you're feeling good but try to 
do it when you're down and out and see how hard it 
comes. 

Rysdale. 
I simply can't. 

Wilder. 

You got to. Look serious if you want to, when 
things are coming your way, but smile, damn you, 
smile, when they're going against you. You're never 
whipped until someone finds it out. Keep 'm guess- 
ing. Looking confident and happy gives you confi- 
dence, it makes you win. 

Rysdale. 
[Jumping up excitedly.] I know, we had a lesson 
on that in Psychology, it was called — the — the reac- 
tion of bodily function upon the mental state. 



20 ''STEP 01/T^JACK!** 

Wilder. 
But you didn't learn it, did you? 

Rysdale. 
I suppose not. 

Wilder. 
[Pointing to framed picture of a prize-fighter over 
his desk.] See that picture up there? 

Rysdale. 
Looks like Kid Kelly. 

Wilder. 
[Pleased.] Sure, it is Kid Kelly, retired from the 
ring, the undefeated light weight champion. I sat in 
his corner at the last fight. 

Rysdale. 
[Interested.] I remember, seventeen rounds. 

Wilder. 
In the tenth round he got a punch that nearly killed 
him. He was whipped then, but for one thing — that 
nobody knew it. He was doubled up on the floor ; the 
referee tolled off the seconds. I saw his face for a 
moment and it was a sight, but on the count of nine 
he came up smiling, smiling. He stalled through the 
balance of the round and came back to his corner 
grinning, but without enough fight in him to swat a 
fly. Maybe we didn't work over that fellow. Six 
rounds before he was right again and then — well, you 
know, in the seventeenth he slipped over a wallop that 
won the fight and saved his title. 



*'STEP OUT— JACK ! " 21 

Rysdale. 
Yes, I remember. 

Wilder. 
But you didn't know he was whipped in the tenth 
round. Now just apply that to everyday Ufe. Smile, 
don't let 'em know when you're hurt, and the world 
is your oyster. 

Rysdale. 
They don't teach that at college. 

Wilder. 
College man, eh? 

Rysdale. 
Yes, sir. 

Wilder. 
I wish I could have gone to college. 

Rysdale. 
That Book of Life you spoke of is better. 

Wilder. 
What did you do after leaving college? 

Rysdale. 
I had a little money and started in business. 

Wilder. 
What business? 

Rysdale. 
Advertising. 

Wilder. 
Good business all right. 



22 ''STEP OUT— JACK!" 

Rysdale. 
I lasted just five months. Owed a lot of money 
and had to quit. 

Wilder. 
Then what ? 

Rysdale. 
I tried all sorts of work but I couldn't seem to get 
a start. I became discouraged, I guess, and when you 
start to go down hill, everybody seems ready to give 
you a shove. 

Wilder. 

You bet they do. What made you take up this 
book-selling game? 

Rysdale. 

It was the only job I could get. I've tried every- 
thing but begging and stealing. I pawned my good 
clothes so I could eat; that's the reason I'm wearing 
this misfit. 

Wilder. 
Got any ambition? 

Rysdale. 
All I want now is enough money to get out of this 
town and never see it again. 

Wilder. 
Where're you going? 

Rysdale. 
Home, out West. 



"STEP OUT— JACK!" 23 

Wilder. 
Why did you take up advertising in the first place ? 

Rysdale. 
I thought it was a fine business. 

Wilder. 
Still feel that way? 

Rysdale. 
I suppose so. 

Wilder. 
Do you like it better than any other business? 

Rysdale, 
Yes, I studied for it at college. 

Wilder. 
[Going for him.] Then why in thunder did you 
quit cold in five months ? 

Rysdale. 
I had to. I failed. 

Wilder. 
Failed? Did any man ever build up a business in 
five months ? Don't you know that out of all the men 
who make their first start in business, ninety-four per 
cent, fail? And don't you know that out of that 
ninety-four per cent, that fail the first time, eighty- 
two per cent, succeed the second time they make a 
start ? 

Rysdale. 
No, I didn't know that. 



24 ''STEP OUT— JACK I '' 

Wilder. 
It's a fact, statistics prove it. Look here, you can 

divide the whole world into just two classes, Quitters 
and Stickers ; now to which class do you belong ? 

Rysdale. 
[Rising, hurt.] I'm sorry now I told you any- 
thing. 

Wilder. 
[Goading him.] Oh, are you? I dare you to look 
yourself in the face. You come to the finest city in 
the world, full of hope and ambition and at the first 
little reverse, you get discouraged, you blame the 
town and want to run home. Now which are you, a 
Quitter or a Sticker ? 

Rysdale. 
[Turns away, his face twitching.] I — I would 
rather not discuss the matter. 

Wilder. 
[Following him up.] Then I'll diagnose your case 
for you. You've got a streak of yellow in you some- 
where, you're a Quitter. 

[Rysdale, his spirit at last aroused, whirls in 
a flash, up close to Wilder, his fist ready to 
strike. 

Rysdale. 
[Savagely.] Take that back, damn you. 

[Wilder regards him calmly. 

Wilder. 
[After a pause.] All right. I'm glad to see you 
still got a kick left in you. 



"STEP OUT— JACK!" 2$ 

Rysdale. 
You take it back? 

Wilder. 
Sure, if you were a Quitter, you would have swal- 
lowed it. 

Rysdale. 
[Relaxing. [ I suppose I ought to stay and fight 
it out. 

Wilder. 
Why certainly. What chance has a fellow in his 
home town? 

Rysdale. 
If I had a little money 

Wilder. 
Money ! All you need is a little back-bone. Many 
a man has started a bank on nothing but back-bone 
and a gold-letter sign. [Miss Roberts enters r. door. 

Miss Roberts. 
Mr. Seamons is here. 

Wilder. 
Have him wait a moment. 

[Miss Roberts exits, r. door. 

Rysdale. 
[Holding out his hand.] You've given me some- 
thing to think about. I thank you and am glad to 
know you. 

Wilder. 
[Thoughtfully.] T listened to your selling talk a 
while ago; how would you like to listen to mine? 



26 ''STEP OUT— JACK I " 

Rysdale. 
I would like to, of course, but 

Wilder. 
[Interrupting.] About a week ago this fellow 
Seamons out there bought some mining stock. 

Rysdale. 
Seamons; is he in the printing business? 

Wilder. 
Yes. 

Rysdale. 
It may be the same one. He did some work for 
me. He holds a judgment against me for four hun- 
dred and fifty dollars. 

Wilder. 
Well, what of it? 

Rysdale. 
I would a little rather not meet him. 

Wilder. 
He won't eat you. You are going to pay him, 
aren't you? 

Rysdale. 
When I can, yes. 

Wilder. 
Well, meet him with a smile; you never can tell, 
he may trust you for some more printing — give you 
another start in business. 

Rysdale. 
No, I would rather not. 



''STEP OUT— JACK ! " 2/ 

Wilder. 
I'll tell you, sit over there and read the paper. 
{Pointing upper r. corner.] He won't recognize you, 
anyway. 

[Wilder hands Rysdale the morning paper. 

Rysdale. 
Probably not in these clothes. Thank you. 

[Rysdale goes up r. and sits, holding the 
newspaper in front of him. Wilder closes 
c. door, and then touches his buzzer. Sea- 
MONS enters r. door. He is an ordinary 
business man, forty-five years old, excitable 
and demonstrative. He is impatient at hav- 
ing been made to wait. 

Wilder. 
[Holding out his hand.] Good-morning, Mr. Sea- 
mons. 

Seamons. 
I don't know whether I want to shake hands with 
you or not. 

Wilder. 
[Laughing.] It won't cost you anything. 

Seamons. 
I shook hands with you last week and it cost me 
eight hundred and forty dollars. 

Wilder. 
Oh, you are referring to the three thousand shares 
of Tungsten you bought. My dear Mr. Seamons, 
that's the best investment you ever made ; sit down. 



28 « STEP OUT— jack! " 

Seamons. 
I don't want to sit down, I want \Siops sud- 
denly as he sees Rysdale. ] I thought we were alone. 

Wilder. 

We are — a client of mine — it's all right. Sit down. 

[Seamons sits upper end of flat top desk. Wilder 

glances through his card cabinet.] That stock is 

about gone. How many more shares do you want? 

Seamons. 
[Jumping to his feet.] How many more do I 
want ? I want to get rid of what I have. 

Wilder. 
[Pained.] I thought you bought that stock as an 
investment, not as a speculation. 

Seamons. 
If it isn't worth anything, what's the difference? 

Wilder, 
Who said it wasn't worth anything? 

Seamons. 
My banker. 

Wilder. 
Funny thing about bankers. They're so careful of 
other people's money until they get it into their own 
hands and then — why, do you know, Mr. Seamons, 
my best customers are bankers, big bankers. 

Seamons. 
That doesn't concern me. I brought back those 
stock certificates. Your young lady just put them 



**srEP OUT— jack!'* 29 

in your safe"; so now you have the stock, and I want 
my money. 

Wilder. 
[Surprised. ] You want me to buy it back ? 

Seamons. 
[Standing opposite Wilder.] That's exactly what 
you've got to do. 

Wilder. 
[Coldly.] I am a promoter, not a broker — I sell 
but I do not buy. 

Seamons. 
I don't care what you are, you've got to take it 
back. 

Wilder. 
[Leaning back in his chair.] I don't mind taking 
it back but I do not like your tone. It sounds as 
though you were forcing me. Now you can't force 
me to do anything. 

Seamons. 
[Pointing to money on desk.] Is that so? What 
is there to stop me from taking this money right here ? 

Wilder. 
[Never moving.] Any man who's big enough 
to get out of this room with that money is welcome 
to it. 

[Rysdale lowers his paper. Seamons 
clumsily pulls a revolver from his hip pocket 
and levels it at Wilder. 

Seamons. 
Pay me that money. 



30 **STEP OUT— jack!" 

Wilder. 
[Gives a low, easy laugh. Rysdale springs to his 
feet. ] What are you trying to do, scare me ? 

[Seamons loses his nerve, and the weapon 
moves up and down uncertainly. 

Seamons. 
No, no, I'm not trying to scare anybody, but 

Wilder. 
Someone might take that money away from you; 
would you rather have me give you a check ? 

Seamons. 
I suppose it would be safer. [Wilder presses the 
huzzer, takes a cigar from his humidor and offers 
them to Seamons, who takes one and slips the re- 
volver hack into his pocket. Rysdale gets behind his 
newspaper again.] Oh, thanks. 

[Wilder holds out a light. Miss Roberts 
enters R. door. Seamons sits at upper end 
of desk. 

Wilder. 
Give Mr. Seamons a check for eight hundred 
and fifty dollars. 

Seamons. 
Forty, eight hundred and forty. 

Wilder. 
Is that right? Well, just as he says. 

Seamons. 

Don't you want to count the stock and see if it's 
all there? 



« STEP OUT— jack! " 51 

Wilder, 
No, no ; you're not trying to get the best of me any 
more than I am of you. That's all right, Miss Rob- 
erts. 

[Miss Roberts exits r. door. Seamons, think- 
ing it is all settled, relaxes and is off his 
guard. 

Seamons. 
If you're busy, I'll wait outside. 

Wilder. 

Sit still. I have really made an exception in your 
case, as I never buy and sell even when I can make 
a good turn. It wouldn't do for me, you understand. 
But now that I have this stock, I'll see what I can 
get for it on the market. {Takes telephone.] Get 
Mr. Hayes, Turner Hayes and Company. 

Seamons. 

[With awakened interest.] Who are they, bro- 
kers? 

Wilder. 
Yes. 

Seamons. 
My banker said there wasn't any market for it. 

Wilder. 
You can't blame him; he wants to make a little 
money himself. You paid twenty-eight cents, didn't 
you? 

Seamons, 
Yes, twenty-eight, 



32 ''STEP OUT— JACK r* 

Wilder. 
A month from now you can't buy it for fifty. If 
you had waited a month instead of a week you could 
make a thousand dollars without turning your hand. 

Seamons. 
Do you really believe that? 

Wilder. 
[Rising and becoming enthusiastic.^ I know it. 
Haven't I put my own money into it? I borrowed 
fifty thousand dollars on my personal note to buy this 
Tungsten stock. What's more I told the bank just 
what I was going to do with it. I'm paying two hun- 
dred and fifty dollars interest every month on that 
loan. That's how much confidence I have in it. 

Seamons. 
Why didn't you tell me that before ? 

Wilder. 

That's my own private business. I'm taking you 
into my confidence. In the old days, Seamons, luck 
was the big factor in striking it rich. Prospectors 
found a little ore on the surface of the ground and 
guessed there was more underneath. Fortunes were 
lost, lives were lost in the mad gamble, but now that's 
all changed. Instead of a greenhorn with a pick and 
shovel, we have highly trained locators scour the 
country. Expert geologists follow them up and in- 
vestigate scientifically their findings. It's all on a 
scientific basis. We never sink a shaft until we know 
what's there. If we don't know, we don't sink it. 
There's an enormous demand for Tungsten: it far 



''STEP OUT— jack!'' 33 

exceeds the supply. It is going to make as many 
millionaires as gold, copper and oil. It's going to 
make every shrewd investor rich — independent for 
life. You know the bankers and capitalists have built 
a stone wall around the secret of making money. 
You can't blame them either. They've made us be- 
lieve that five or six per cent, is all money is worth, 
is all money can earn, but we've broken through that 
wall, we've learned the secret of the earning power of 
money. How did the millionaires of this country 
make their money? Did they pile it up dollar after 
dollar at six per cent. ? We thought so once but now 
we know better. They did precisely as we are doing, 
dug it out of the ground. Tungsten is to-day the 
greatest undeveloped commercial product in the 
world. There it is in the incandescent lamps, in the 
steel structure of this building, in the miles of rail- 
roads, in every place where steel is used. When the 
rush is on and Tungsten is being traded at five, ten, 
fifteen dollars a share, you'll look back and wonder 
if you were crazy or somebody robbed you. I tell 
you this is the same kind of opportunity that came 
to Rockefeller, Morgan, Carnegie, Frick and Copper 

King Clark — the opportunity of a lifetime 

\The telephone rings and Wilder takes it. Resum- 
ing his quiet business-like tone.] Hello Mr. 

Hayes Wilder fine, thank you 

how's Tungsten this morning? Thirty-five bid 

thirty-six asked Yes, they're getting on 

to it slowly sell three thousand at the mar- 
ket 

[Seamons, who has been listening intently, 
jumps to his feet. 

Seamons. 
Wait, hold on there. 



34 ''STEP OUT— jack!'* 

Wilder. 
Just a moment, Hayes. \To Seamons.] Did you 
speak to me? 

Seamons. 
Tell him it's all off. I don't want to sell. 

Wilder. 

Hayes just hold that order until you hear 

from me further yes. Good-bye. 

[Wilder puts down the instrument and looks 
at Seamons inquiringly. 

Seamons. 
I never did intend to sell that stock. I just wanted 
to sound you out before buying some more. 

Wilder. 
[Flattering him.] You play a clever game, Mr. 
Seamons — fooled me all right. 

Seamons. 
I can still buy at twenty-eight ? 

Wilder. 
How many? 

Seamons. 
Another thousand. 

Wilder. 
Twenty-eight is the syndicate price ; you'll have to 
hold it for thirty days before putting it on the market. 

Seamons. 
That's all right, I understand. 



""STEP OUT— JACK!" 35 

Wilder. 

[Considering.] Well [Ewf^r Miss Roberts, 

R. door, with check for Wilder to sign.] All right, 
but this will be the last. [To Miss Roberts as he 
takes the check.] Give Mr. Seamons a thousand 
shares of Tungsten at twenty-eight. 

Miss Roberts. 
Yes, sir. 

Seamons. 
I'll give you a check right now. 

Wilder. 
Miss Roberts will fix you up, just hand it to her. 
[Miss Roberts exits, r. door. Wilder grasps Sea- 
mons' hand.] I congratulate you upon your business 
judgment. Good-bye, and come in again. 

Seamons. 
I'm much obliged to you. I hope you'll pardon 
me for pointing that revolver at you. 

Wilder. 
That's nothing. You were only joking. 

Seamons. 
That's all. Good-bye, Mr. Wilder. 

Wilder. 
Good-bye ; good luck. 

[Seamons exits, r. door, getting his check- 
book out of his pocket. Rysdale drops his 
paper. Wilder crumples up the check 
Miss Roberts handed him and tosses it in 
the waste basket. 



36 ''STEP OUT— JACK ! » 

Rysdale. 
[In admiration.] No wonder you make money. 
[Wilder laughs softly.] Weren't you frightened 
when he pointed that gun at you ? 

Wilder. 
I've looked into a lot of those things. They never 
go off after they're pointed. 

Rysdale. 
I believe you could talk a man into anything. 

Wilder. 
You can. If they don't wear ear muffs. 

Rysdale. 
Is that stock worth anything ? 

Wilder. 
[Righteously.] Worth anything? I should say it 
is. [Quickly he takes a stock certificate from a 
drawer of his desk.] Look at it! Isn't it beautiful? 
Did you ever see a finer piece of engraving? My 
own design ; they cost five and a half cents apiece 
and I get them in hundred thousand lots. 

Rysdale. 
How about the property? 

Wilder. 
Oh, the property. Well, if we find what we expect, 
the stock will be cheap at five dollars a share; if we 
don't, it will be dear at a penny. 

Rysdale. 
In other words, it's only a gamble? 



" STEP O UT—JA CK!" 2>7 

Wilder. 
Pure and simple. 

Rysdale. 
Don't you realize you are making a gambler out of 
Mr. Seamons? 

Wilder. 

Not I. You had him before I did. Didn't he 
gamble on your paying him for some printing? 

Rysdale. 
I — I intended to pay him. 

Wilder. 

I intend to make him rich. 

[Enter Buddie, r. door. 

Buddie. 
Mr. Lyons wants to see you. 

Wilder. 
Send him in. [Buddie exits, r. door. 

Rysdale. 
[Holding out his hand.] Good-bye, Mr. Wilder, 
and thank you for your advice. 

Wilder. 
Come in again when I have more time ; maybe I 
can help you get into something. 

Rysdale. 
Thank you, that's very kind of you. [As Rysdale 
reaches r. door, he meets Lyons, who enters there. 
Lyons is about thirty-five, well dressed, hut some- 
what effeminate and supercilious in his manner. 



38 '' STEP OUT— JACK ! " 

Rysdale recognizes him at once, and is about to speak 
and checks himself. Lyons notices this and stops.] 
How are you, Mr. Lyons? 

Lyons. 
Oh, good morning. Your face is familiar, but 

Rysdale. 
My name is Rysdale. 

Lyons. 
[Looking him up and down.] Rysdale? Oh, yes, 
yes, yes. How are you ? We met at Miss Galloway's, 
I believe. 

[At the mention of the name Galloway, 
Wilder pays strict attention. 

Rysdale. 
Yes. 

Lyons. 
Quite some time ago, wasn't it ? 

Rysdale. 
Yes, it was. I was just going; glad to have seen 
you again. Good-bye, Mr. Wilder. 

Wilder. 
[Quickly.] Oh, Rysdale, wait outside a moment, 
I want to see you again before you go. 

Rysdale. 
All right. [Exit Rysdale, r. door. 

Lyons. 
How are you, Mr. Wilder? 



*'STEP OUT— jack!'' 39 

Wilder. 
Fine, thanks, sit down. 

Lyons. 
How's business? 

Wilder, 
I'm getting enough business, but not the right kind 
of business. 

Lyons. 
How is that? 

Wilder. 
Every day my outer office is cluttered with a lot of 
little two by four want-to-get-rich-quick-investors 
and flocks of widows and orphans. 

Lyons. 
Isn't their money as good as anyone's else ? 

Wilder. 
Not for me it isn't. If I've got to make my money 
off that class of clients, I'm going to get a job with 
a pick. When I gave you my advertising contract, 
you said you could bring me in touch with the big 
fellows. If you can't do it and do it quick, I'll have 
to cancel my contract. 

Lyons. 
I can do it if anybody can. 

Wilder. 

Then get busy. Change your copy, change your 

mediums. I don't care how you do, but do it. Why, 

a few days ago, I was introduced to a party with a 

lot of money and I sold him more stock in half an 



40 ''STEP OUT— jack!" 

hour than I do the widows and orphans in a month. 
I want to get the big fellows; if the bubble bursts 
they're ashamed to admit it and keep their mouths 
shut. 

Lyons. 
I can fix that all right. 

Wilder. 

All right, now here's another thing [Buddie 

enters, r. door.] What is it, Buddie? 

Buddie. 
De guy out there says he'd rather not wait no 
longer; he wants me to get his satchel. 

Wilder. 
{Looking about.'] Satchel? Oh, yes, there it is. 
[Buddie takes the satchel and starts R. Wilder, 
thought fvdly.] Tell him to wait a few minutes 
longer, Buddie. Here, I'll tell you, ask him to give 
you that contract blank for me to sign. 

Buddie. 
Contract blank for you to sign? 

Wilder. 
Yes, he'll understand. {Exit Buddie, r. door.] A 
long while ago, you promised to introduce me to old 
John Galloway. When you going to do it? 

Lyons. 
As soon as a favorable opportunity presents itself. 

Wilder. 
You've been telling me that for six months. 



''STEP OUT— jack!" 41 

Lyons. 
He is a hard man to approach. My contract with 
him has just expired; as soon as I have him signed 
up again I can arrange it. 

Wilder. 
I'll remind you of that. 

Lyons. 
If you would only wait until his daughter and I 
are formally engaged, it would be still better. 

[Buddie enters, r. door, with one of Rys- 
dale's contract blanks. 

Wilder. 
[Taking it.] Is he going to wait? 

Buddie. 
Yes, sir. 

Wilder. 
All right, Bud. [Exit Buddie, r. door.] How 
long before you expect to be engaged? 

Lyons. 
She was abroad all summer or it would have been 
long before this. 

Wilder. 
In other words, you'll take care of me after you 
get yourself all fixed. 

Lyons. 
No, indeed. I'll see to it right away. 

Wilder. 
All right. Now what do you know about this 
young Rysdale? 



42 "STEP OUT— jack!'* 

Lyons. 
Very little. 

Wilder. 
I heard you say you met him at the Galloways'. 

Lyons. 
Yes, he knew Miss Galloway's brother, I believe. 

Wilder. 
[Thoughtfully.] I see. I guess he's hard up, 
isn't he? 

Lyons. 
Down and out, I should say, judging from appear- 
ances. [Rising.] There wasn't anything else? 

Wilder. 
No, not to-day ; don't forget about the big fellows. 

Lyons. 
I won't ; good morning, Mr. Wilder. 

Wilder. 
Good-bye, Lyons. [Lyons exits, c. door. Wilder 
presses buzzer and is signing the contract blank as 
Buddie enters, r. door.] Have Mr. Rysdale come in. 

Buddie. 

Yes, sir, 

[Exit Buddie, r. door. He holds the door 
open, and Rysdale enters, carrying his 
satchel. 

Wilder. 
[Holding out the contract.] Here's your contract. 



'' STEP OUT— JACK ! " 43 

Rysdale. 
[Hesitating.] You're not doing this out of pity? 

Wilder. 
No, and I'm not doing it because you talked me 
into it either. But a few books would improve the 
appearance of my office. Sit down. What's your 
given name? 

Rysdale. 
[Sitting.] Jack, or John rather. 

Wilder. 
[Offering the humidor.] I Uke Jack better. Have 
a cigar, Jack. 

Rysdale. 
Thanks. 

[Rysdale sits at upper end of flat top desk 
and lights his cigar and offers a light to 
Wilder. 

Wilder. 
How well do you know John Galloway ? 

Rysdale. 
Of course you mean the big yeast man? 

Wilder. 
Yes. 

Rysdale. 

I did know him quite well, before I stopped call- 
ing at his house. 

Wilder. 
If you don't mind, why did you stop calling? 



44 ''STEP OUT— jack!" 

Rysdale. 
I had to. 

Wilder. 
Get in bad or something ? 

Rysdale. 
No, I had to pawn my evening clothes to get some- 
thing to eat. 

Wilder. 
As bad as that, eh? How long since you been 
there ? 

Rysdale. 
About six months. 

Wilder. 
How did you come to know the Galloway family, 
in the first place ? 

Rysdale. 
Clarence, Mr. Galloway's son, and I were chums 
at college. I spent my vacation at their summer 
home a number of times, and when I came here to 
live I called two or three times a week. 

Wilder. 
I should think you would hate to give up friends 
like that. 

Rysdale. 

I did. Soon after I left college his sister and I 
were engaged. We didn't announce It because I was 
just getting started in business and couldn't marry for 
a time. Well, you know the rest. I failed in busi- 
ness. I hated to lose her. She's too good for me or 



" STEP OUT— J A CK ! " 45 

any other man living, but I couldn't ask her to wait 
indefinitely. I didn't even have taxicab money. I 
couldn't explain, so I stayed away. 

Wilder. 
Seen any of the family lately ? 

Rysdale. 
Yes, but they didn't see me. I've had to dodge 
Clarence several times. 

Wilder. 
Do you know his father well enough to introduce 
me? 

Rysdale. 
Yes, but you see 

Wilder. 
I understand, it would be breaking a long silence. 

Rysdale. 
I am hardly in a position to do It. 

Wilder. 
Supposing you 7vere in position to renew your 
friendly relations with the family and possibly to 
persuade Miss Galloway to renew her engagement, 
it would be a comparatively simple matter to bring 
Galloway and me together in a casual way, wouldn't 
it? 

Rysdale. 
Why, certainly. 

Wilder. _ 
Would you be willing to do that for me ? 



46 ''STEP OUT— jack!'* 

Rysdale. 

I would be glad [He catches himself 

quickly. ] What do you want to do, sell him stock ? 

Wilder. 
Yes. 

Rysdale. 
Then I would be instrumental in your unloading 
upon him a lot of speculative stock ? 

Wilder. 

Do you flatter yourself that he needs you to protect 
his millions? 

Rysdale. 
[Slowly.] No, it's not that. 

Wilder. 
You can advise him against it if you want to. I 
do not ask you or anyone else to endorse my propo- 
sition. I don't care whether I sell him stock or not. 
Through him I'll meet some of the other big fellows. 
I may get him to put my name up at his club. 

Rysdale. 
Why do you pick out Galloway ? 

Wilder. 
Because I'm sick and tired of doing business with 
little fellows, I have made a list of big men, with 
money, and one by one I'm meeting them. I can't 
walk into their offices like a common solicitor and 
sell them anything. I gave Mr. Lyons my advertis- 
ing contract because he promised to introduce me to 



**STEP OUT— JACK !'' 47 

Galloway, but he's either afraid or stalling me. And 
— look here, young fellow, first thing you know he'll 
be carrying off your girl. 

Rysdale. 
[Jumping to his feet. ] You mean Miss Galloway ? 

Wilder. 
I mean Miss Galloway. He just told me they were 
as good as engaged. 

Rysdale. 
[Walking about.] He told you that? Oh, she 
would never marry that fellow. 

Wilder. 
Is that so ? I have known girls to marry fellows a 
whole lot worse than he is, just for spite. 

Rysdale. 
I know, I know, but 

Wilder. 

You stayed away and left him a clear field, didn't 
you? 

Rysdale. 

I've been waiting for a break in the luck. 

Wilder. 
You can't wait, man ; he doesn't look like much to 
you and me maybe, but he may look mighty fine to 
her. You've got to start something and show that 
young lady that you're alive and kicking. 

Rysdale. 
I would fight for her with my last drop of blood. 



48 "STEP OUT— jack!" 

Wilder. 
Now don't get romantic. Men don't buckle on 
their armor and grab a spear to win a woman any 
more. To-day a man's game is to win success and 
a woman's game is to marry a successful man. Don't 
stand in line, step out, take the middle of the road 
and give 'er gas ! 

Rysdale. 
[Quickly.] That's just what I'd like to do. 

Wilder. 
Now supposing you were to drop in on the Gallo- 
ways some evening, looking prosperous and well 
dressed, do you think the girl would be glad to see 
you? 

Rysdale. 
She might. 

Wilder. 
Here's a proposition. I'll give you five hundred 
dollars, cash, right now, if you'll introduce me to 
John Galloway within a week or ten days. 

Rysdale. 
I'll do it for nothing. 

Wilder. 
It can't be done for nothing. It will take all of 
five hundred to do it right. 

Rysdale. 
I don't understand you. 

Wilder. 
Do you think I would let you introduce me to any- 
one looking the way you do? You're clean, you're 



''STEP OUT— JACK !'' 49 

honest, you're educated, but your appearance is 
against you. It would spoil the party and that's 
where the five hundred comes in. There's only one 
string to it. 

Rysdale. 
I knew there was a catch in it. 

Wilder. 
You must promise to spend the money on yourself, 
to improve your appearance. Buy clothes, two or 
three different suits, get manicured, get barbered, 
ride in taxis, look prosperous ; you'll find it won't last 
long. 

Rysdale. 
I get the point. 

Wilder. 
Whatever you do in this world, you've got to look 
the part. What kind of a call would a parson get 
who went around with a red vest and cracked ice in 
his necktie? How much stock would a broker sell 
who came down-town in a hickory shirt with his 
pants tucked in his boots? 

Rysdale. 
Where and how would you prefer to meet him? 

Wilder. 
Could you get him to lunch with you at some nice 
hotel ? 

Rysdale, 
I think so. 



50 ''STEP OUT— jack!*' 

Wilder. 
All right. As soon as you get your wardrobe fixed 
up, drop in to see him, explain that you have been 
away, invite him to lunch with you some day. Let 
me know when and where you'll be. After you have 
ordered the lunch, I'll stroll over and you — you'll 
simply have to introduce me. 

Rysdale. 
Then what? 

Wilder. 
Then you've earned your five hundred. If you 
don't meet me out at his house a few evenings later, 
it will be because you're not there. 

Rysdale. 
I certainly would like to be there. 

Wilder. 
[Holding out his hand.] Is it a bargain? 

Rysdale. 
[Grasping it.] Yes. 

[quick action from now on to finish.] 

Wilder. 
[Counting out the money on desk.] Good! 
Here's the mone}^ [Business.] There's ten fifties. 
[Hands it to him.] It's yours; blow it on yourself, 
and by the time it's gone, if you do as I tell you, 
you'll be sitting sweet and pretty. 

Rysdale. ~ 

What makes you say that? 



''STEP OUT— JACK ! " 5 1 

Wilder. 
Because it will make you independent for a little 
while and you know we're always helping people who 
don't need it. It's human nature. 

Rysdale. 
[Shoving the money in his trouser pocket] For 
whosoever hath, to him it shall be given. 

Wilder. 
[Hitting him on the back.] That's the idea. Feel 
better already, don't you ? 

[Rysdale picks up his satchel and stands a 
little straighter with shoulders thrown back 
and smiles. Wilder presses the buzzer. 

Rysdale. 
I do, I can't help it. You must have a lot of con- 
fidence in human nature. 

Wilder. 
Say, if I had your education, and your looks, I'd 
set the world afire. [Buddie enters, R. door.] Let 
me take your satchel a minute. 

Rysdale. 
[Handing it over.] Certainly. 

[Wilder takes satchel with his left hand, and 
extends his right to Rysdale. 

Wilder. 
Step out, Jack. Step in again when you get fixed 
up. 

Rysdale. 
I surely will. 



52 ''STEP OUT— JACK !" 

Wilder. 
Here, Bud. [Buddie comes to instant attention 
and Wilder throws the satchel at him.] Throw this 
junk into the alley. 

[Buddie catches the satchel and exits, r. door. 



QUICK CURTAIN 



ACT II 

SCENE. — Ten days later. John Galloway's li- 
brary, Riverside Drive. Just after dinner. A 
large and luxuriously furnished room. In the 
c. at back is a wide fireplace with leather up- 
holstered chairs at r. and l. On either side of 
fireplace are double doors with hangings. The 
one on the l. opens into a reception-room and is 
referred to as l. door at back; the one on the r. 
leads into the music room and is referred to as 
R. door at back. In the music room may be seen 
the rear half of a grand piano extending into 
view from the r. A door at lower R. leads into 
the dining-room. A wide window at lower l. in 
front of which is a small writing-desk, with 
chair of same design. A large oblong table at 
C, directly in front of which is a large daven- 
port. A reading lamp on l. end of table. The 
two side walls of the room are lined with book- 
shelves and above the shelves are dark wood 
panels. One large oriental rug covers the floor. 
The shades are drawn and the ligJUs are lit. 

As the curtain rises Mrs. Galloway, fifty and in- 
clined to plumpness, enters r. door, followed by 
Cynthia Barnett, her niece, small, twenty-one 
and vivacious, who is arm-in-arm with her 
daughter, Zoe Galloway. Zoe is a handsome 
and perfectly poised young lady of twenty-three. 
They are all three laughing and talking as they 
enter. 

53 



54 ''STEP OUT— JACK!" 

Cynthia. 
Why do men always smoke after eating? 

Mrs. Galloway. 
For the same reason, Mr. Galloway says, that 
women dress for the opera; endure the one to enjoy 
the other. 

Cynthia. 
They seem to get so much enjoyment out of it. 

ZOE. 

[Stopping r. of table.] Does it make you jealous? 

Cynthia. 
It annoys me. What right have they to enjoy any- 
thing we can't ? 

Mrs. Galloway. 
[Sitting r. of fireplace; with kindly sarcasm.] 
There they are, my dear, help yourself. 

Cynthia. 
[Opening cigarette box on table and gingerly 
fingering a cigarette.] May I, Aunt Mary? What 
would my mother say? 

[As she toys with the cigarette, Harris the 
butler enters R. door with the after-dinner 
coffee things. Cynthia guiltily puts the 
cigarette and match behind her back as 
Harris proceeds to serve the coffee. 

Mrs. Galloway. 
If your Uncle John didn't smoke, I don't know how 
I could ever take care of him. He complains about 
not feeling well half the time and as long as his cigar 



''STEP OUT— JACK!" 55 

is lit, I never bother my head about him. But let 
me fail to see that steady column of smoke arising 
from wherever he is camped and I hustle him off to 
bed and send a hurry call for doctor and nurse. 
There's always something the matter. 

ZoE. 
Smoking is a sort of health barometer with Father. 

Cynthia. 

Well, after all, it's a silly habit for women. 
[Pause.] And I don't believe the men get so much 
enjoyment as they pretend they do. [Then, turn- 
ing to ZoE.] You never wrote me about this Mr. 
Wilder. 

ZOE. 

I never saw him until this evening. Who is he, 
Mother ? 

Mrs. Galloway. 
You'll have to ask your father. 

Cynthia. 
I think he's a charming man. 

ZoE. 
[Quickly.] Yes, he has a frank unconventional 
way about him that is quite refreshing. 

[Harris, having finished serving the coffee, 
exits, R. door. 

Cynthia. 
He doesn't believe in wasting time; before the 
dinner was half over he was calling me Cynthia. 

ZoE. 
He's from the West ; they all do that. 



56 ''STEP our— jack!" 

Cynthia. 
What! All? [Changing her tone.] Do you 
realize, dear cousin, that I've been under your hos- 
pitable roof nearly half a day and you have never 
once mentioned Jack Rysdale. 

ZoE. 

Pardon me. I'll tell you all about him. 

Cynthia. 
[Eagerly.] Yes, do. 

ZoE. 
[Looking straight ahead.] I haven't seen him or 
heard from him for — six months. 

Cynthia. 
Oh, perhaps I shouldn't have inquired. 

ZOE. 

How silly, why not ? 

Cynthia. 
I do not want to bring up any painful topics. 

ZOE. 

[Forcing a smile.] Painful, the Idea. He simply 
hasn't called — that's all. 

Cynthia. 
[Rising.] I must revise my opinion of Jack Rys- 
dale ; he has shocking bad taste. 

Mrs. Galloway. 
I quite agree with you. 



''STEP OUT— JACK!" $7 

ZOE. 

Don't be foolish ; he is under no obligation to call. 

Cynthia. 
I only hope this Mr. Lyons is as nice as I thought 
Mr. Rysdale was. 

ZOE. 

He'll be here in a few minutes and you can judge 
for yourself. 

[Enter John Galloway, his son Clarence 
and Wilder, r. door. All are in evening 
dress. Galloway is fifty, stout, hearty 
and good-natured and is smoking a cigar. 
Clarence is twenty-one and slender, quick 
and bright. Galloway and Clarence are 
laughing at something Wilder has told 
them. Clarence and Wilder cross to c. 
and Galloway goes up r. Zoe goes up in 
front of fireplace. 

Galloway. 

That's a new one on me all right. Excuse me a 
moment. 

Wilder. 
Certainly. 

[Clarence and Wilder go to davenport. 
Wilder sits in c. Clarence stands facing 
him. Galloway exits, r. door at hack. 

Clarence. 
Don't you ever long to get away from this big city, 
back to the West, the scenes of all those stories you 
told us ? 



58 ''STEP OUT— jack!'* 

Wilder. 
Not for one minute. 

ZOE. 

[Sitting at his l.] You had awfully good times, 
didn't you ? 

Wilder. 
I suppose so, but the things you were kind enough 
to laugh at were tragic when they happened. 

Cynthia. 

[Sitting at his R.] Don't you find the convention- 
ality of New York terribly boring? 

Wilder. 
No, I never conform to it. 

Cynthia. 
Don't you just love to break rules? 

Wilder. 
That's what I've been doing all evening. [Harris 
enters r. door to remove the coffee things. To 
Clarence.] Say, boy, how about those tickets? 

Clarence. 
That's so, we haven't much time. 

Wilder. 
[Stepping up to Clarence.] Will you do that for 
me? 

Clarence. 
Oh, surely. 

[Clarence starts up r., hut pauses as Wilder 
speaks to Mrs. Galloway. 



''STEP OUT— JACK!" 59 

Wilder, 
You are sure you don't care to join us, Mrs. Gallo- 
way? 

Mrs. Galloway. 
No, no, thank you. 

Wilder. 
Four good seats, Clarence, or a box. Tell him 
they are for me and have them charged. 

Clarence. 
How about the two seats Mr. Lyons has? 

Wilder. 

I'll fix that up with Lyons. 

[Clarence exits, r. door at hack. 

ZoE. 
Oh, I want to ask you something. 

Wilder. 
[Coming hack to davenport.] Yes. 

ZoE. 
When Father telephoned you were coming to din- 
ner he said you were a friend of Mr. Rysdale. 

Wilder. 
My. Rysdale introduced me to your father. 

ZOE. 

[Surprised."] Oh, is that so? 

Cynthia. 
Do you know Mr. Rysdale very well? 



6o " STEP O UT—JA CK !" 

Wilder. 
Well, we don't have to talk about the weather. 

ZoE. 
Of course it is Jack Rysdale of whom you are 
speaking ? 

Wilder. 
Why, yes, young fellow, fine looking, lots of 
money. 

Cynthia. 
So that's the way men describe each other. 

Wilder. 
[To Zoe.] Do you know him? 

ZOE. 

[Evasively. ^ He and Clarence are good friends, I 
believe. That is — you are sure his name is Jack? 

Wilder. 
I wouldn't swear to it, but I have heard him men- 
tion your brother. 

ZoE. 
It must be the same one. Now you think me curi- 
ous, don't you? 

Wilder. 
Fine fellow, lots of money, you ought to be. How 
about it. Miss Barnett? 

Cynthia. 

How can one help it ! 

[The door-hell rings faintly off l. 



^'STEP OUT— JACK! "" 6l 

ZoE. 
When did you meet my father ? 

Wilder. 
One noon at lunch, three or four days ago. Your 
father and Rysdale were together a few tables away. 
Rysdale called 

ZOE. 

[Interrupting.] You saw Father and Mr. Rys- 
dale lunching together? 

Wilder. 
Yes, he called me over ; we got to talking and when 
Rysdale had to leave, your father took me over to 
his club. 

Cynthia. 
Men make friends quickly, don't they? 

Wilder. 
[Smiling.] Sometimes. 

[Clarence enters r. door at back. 

Clarence. 
I got the tickets. 

Wilder. 
Good, that's fine. Thank you very much. 

[Wilder and Clarence confer together. 
Harris enters at l. door at back. 

Harris. 
Mr. Lyons. 

[Harris exits, l. door at back and Mrs. 
Galloway rises to meet Lyons, who enters 
L. door at back a moment later. 



62 ''STEP OUT— JACK I** 

Mrs. Galloway. 
Good evening, Mr. Lyons. 

Lyons. 
Mrs. Galloway. 

ZOE. 

How are you, Mr. Lyons? 

Lyons. 
You're looking charming this evening. 

Mrs. Galloway. 
My niece, Miss Barnett, Mr. Lyons. 

Lyons. 
Charmed, I'm sure, Miss Barnett. 

Cynthia. 
You may as well know at the start, Mr. Lyons, that 
I am going to spoil your evening. 

Lyons. 
That is impossible. 

Wilder. 
How are you, Lyons? 

Lyons. 
Oh, Mr. Wilder, good evening. Hello, Clarence. 

[The men shake hands. 

Cynthia. 
[To Lyons.] You see, Mr. Wilder and I have 
wished ourselves onto you and Zoe. 



''STEP OUT— JACK I*' 63 

Lyons. 
Oh, that's fine, Fm sure. 

{Enter Galloway, r. door at back. 

ZOE. 

I felt sure it would be all right. 

Galloway. 
[Coming down.] Hello, Mr. Lyons. 

Lyons. 
Oh, good evening, Mr. Galloway. 

Galloway. 
[To Lyons.] Going some place? 

Lyons. 
Yes, I wish you would join us. 

ZoE. 
[To Lyons.] Is it time to go ? 

Lyons. 
Whenever you are ready. 

ZOE. 

[Taking Cynthia by the arm.] Come, Cynthia, 
we'll be ready in a moment. 

[ZoE and Cynthia go up to l. door at back, 
and as they are about to exit, Harris enters 
with a card on a tray which he offers to 
ZoE. ZoE glances at the card without tak- 
ing it from the tray, still arm in arm with 
Cynthia. Then seeing the name she 
quickly drops Cynthia's arm and takes the 
card from the tray. She gives Cynthia a 
glimpse at the card, 



64 ''STEP OUT— jack!" 

Cynthia. 
[ Clasping her hands. ] Oh ! 

[ZoE, all in a flutter, runs to her mother. 

ZOE. 

Mother dear, it's Mr. Rysdale. 

Mrs. Galloway. 
Are you going to see him? 

Clarence. 
[Overhearing Zoe.] What's that? — Rysdale? 

Galloway. 
I forgot to tell you, he was in to see me the other 
day. 

[Wilder is enjoying the situation and Lyons 
becomes more formal than ever. 

Mrs. Galloway. 
Were you expecting him ? 

Zoe. 
[Standing undecided.] No. [There is a pause 
and then Zoe turns to Harris.] Have him come in, 
Harris. [Harris bows and exits, l. door at back. 

Clarence. 
[To Galloway.] Did you say he was in to see 
you? 

Galloway. 
Yes, he introduced me to Mr. Wilder. 

Clarence. 
Why didn't you tell me? [Clarence starts up to 
h. door at back.] Wait until I se? th^t fellow. 



'' STEP OUT— JACK r' 65 

[Rysdale enters l. door at back. He now presents 
a strong contrast to his appearance in the first act. 
He has had his hair trimmed, new shoes and wears a 
perfectly fitting suit of evening clothes. He also has 
an entirely different bearing, confi.dent and at his 
ease. Clarence delighted.] Jack! 

Rysdale. 
Clarence, old boy, how are you ! 

ZoE, 
Good evening, Mr. Rysdale. 

Rysdale. 
I'm glad you are home; how have you been since 
I saw you ? 

ZOE. ' 

So far back? I can't remember. 

Rysdale. 

I deserve the reproach. How are you, Mrs. Gallo- 
way ? 

Mrs. Galloway. 
Good evening ; they tell me you've been away. 

Rysdale. 
Yes — I — I've just returned. 

Zoe. 
You remember my cousin, Miss Barnett. 

Rysdale. 
Of course I do. I'm. very happy to see you again. 

Cynthia. 
Good evening. 



66 ''STEP OUT— JACK I "^ 

ZOE. 
And Mr. Lyons? Mr. Wilder and Father, I say- 
Father last because we're all jealous of Father. He 
saw you first. [The men exchange greetings. 

Lyons. 

Then you should be jealous of me because I saw 
Mr, Rysdale over a week ago. 

ZoE. 
Oh, did you? 

Lyons. 
[Looking Rysdale up and down in an effort to 
embarrass him.] He looks so different, so changed, 
I should not have known him. 

Rysdale. 
[ShoTJuing no embarrassment.] I hope you ap- 
prove of the change. 

Lyons. 
A change for the better, I should say. How did 
you do it? 

Rysdale. 
It's a long story. I'm afraid it would only bore 
you. Besides, Miss Galloway, I am not going to in- 
terrupt this little party for even a moment. 

ZoE. 
To be very frank, we were thinking of going to the 
opera — we would like to have you join us. 

Clarence. 
He can't go. I've got to see him myself, 



''STEP OUT— JACK I" 67 

Rysdale. 
[To ZoE.] Thank you very much, but Clarence 
is right, I can't go. I — I wanted to see your father 
for a moment. Is it all right, Mr. Galloway ? 

Galloway. 
Why, certainly. 

Wilder. 
Inasmuch as I forced myself into this party, I have 
the right to drop out. Rysdale, you are going in my 
place. 

Rysdale. 
Thank you, but I couldn't think of it. 

Wilder. 
Oh, yes you can. If I go, I'll disgrace you all. 
I'm not up to Grand Opera — yet. I'll either laugh or 
cry in the wrong place or fall asleep. I tried it once 
before — you'll be doing me a favor, Rysdale. 

ZoE. 
Would you really rather not go ? 

Wilder. 
There aren't enough wild horses in the world to 
drag me there. 

ZoE. 
[Laughing.] Perhaps you will have to join us, 
Mr. Rysdale. 

Rysdale. 
[To Wilder.] Are you doing this just to be a 
good fellow or 



68 ''STEP OUT— JACK I'' 

Wilder. 
[Interrupting.] Good fellow to myself, yes; you 
see I wasn't raised on that kind of music. 

ZOE. 

I presume we should be starting; will you excuse 

us for a moment? 

Rysdale. 
Certainly. 

[ZoE and Cynthia go up l. and exit, l. door 
at hack. 

Galloway. 

Well, I propose to start you off by inviting you all 
to partake of a little after-dinner libation. After 
such a narrow escape Wilder needs it. 

[Galloway starts r. Mrs. Galloway rises. 

Lyons. 
I'll try anything once. 

Wilder. 
Aren't you going with us, Mrs. Galloway? 

[Mrs. Galloway has started up l. and now 
turns. 

Mrs. Galloway. 
No, thank you. I intend to live a little longer and 
compared with him, Lucrezia Borgia was a soda- 
water saleslady. 

[Exit Mrs. Galloway, l. door at hack. 

Galloway. 
[Making a face.] Come on, Rysdale. 



''STEP OUT— JACK !" 69 

Clarence. 
Just a minute, Dad. [Galloway links arms with 
Wilder and Lyons and the three exit, r. door.] 
Where in Heaven's name have you been all this time ? 

Rysdale. 
I'll tell you all about it, Clarence, when I have 
more time, but right now I want to get away as soon 
as possible. 

Clarence. 

Get away ? Why, you haven't been here five min- 
utes. 

Rysdale. 
I know. I should not have come. 

Clarence. 
For the love of Heaven ! Here, sit down. 

[Clarence pulls Rysdale down onto the 
davenport. 

Rysdale. 

Help me out, Clarence. I'll slip out now and you 
make some excuse to your father and the others, an- 
other engagement or something, you know. 

Clarence. 
What for? Why, you've just got here. 

Rysdale. 
Well, I was a little embarrassed when I learned 
that Zoe was going out, so I said that I wanted to 
see your father about a little matter. Now as a mat- 
ter of fact I haven't anything to see him about. 



70 ''STEP OUT— jack!" 

Clarence. 
That's all right. Wouldn't you like to spend the 
evening with Father and me ? 

Rysdale. 
Yes, of course, but you may have other plans. 

Clarence. 
Forget it. And now listen, I'll tell you something. 
Are you still in the advertising business ? 

Rysdale. 
[Uncertain.] Well — er — yes. 

Clarence. 

Good. For years Lyons has had Father's adver- 
tising contract. It just recently expired and Father 
hasn't renewed, because he thinks he has been throw- 
ing his money away. Lyons is crazy about it ; now 
you see? 

Rysdale. 
That's very nice of you, Clarence, but 

Clarence. 
Go to it, old boy. I think you can land him. 

Rysdale. 
[Thoughtfully.] Thanks, Clarence. 

Clarence. 
Too bad Zoe has to go out. 

Rysdale. 

Oh, she'll have a better time than sitting around 
with us. 



'' STEP OUT— JACK ! " 7 1 

Clarence. 
She used to think you were pretty nice, Jack. 

Rysdale. 
Has she ever inquired of me? 

Clarence. 
Has she ? She bothered me — well, I guess I've told 
you enough. 

Rysdale. 
How about this fellow Lyons ? 

Clarence. 
I was teasing her about him the other day. I asked 
her why she didn't marry him. 

Rysdale. 
Yes. 

Clarence. 
She said she would if he ever stopped saying " per- 
fectly maddening." 

Rysdale. 
Perfectly maddening, eh? 

Clarence. 
He always says that when he gets excited. 

Rysdale. 
Then we'll just have to keep him excited. 

Clarence. 
That's right. How are you getting along in your 
business, Jack? 

Rysdale. 
Oh, fairly well. 



72 ''STEP OUT— jack!" 

Clarence. 
You certainly look prosperous. 

Rysdale, 
Glad you think so. 

Clarence. 
I wish I could get a start. I haven't done a thing 
since I left college. 

Rysdale. 
You don't have to. 

Clarence. 
Don't I? You don't know my father. He's one 
of your old-fashioned fathers : wants me to start in 
the way he did, without a nickel. Do you think he 
would give me a job in his office or start me up in 
business? Not he. He says I've got to begin to 
hustle and do it quick. 

Rysdale. 

No! 

Clarence. 

He has threatened to cut off my allowance. [Rys- 
dale laughs.^ It's not so funny either. [Takes a 
folded check from his vest pocket.] There's my 
weekly stipend — just got it. 

Rysdale. 
Twenty-five dollars, that's pretty nice. 

Clarence. 
I would give anything to tell him to keep it. Don't 
you ever hear of business openings for a young fel- 
low? 



" STEP OUT— J A CK / " 73 

Rysdale. 
Have you really tried to find a position? 

Clarence. 
Have I ? I have answ^ered " ads " and hunted down 
all the likely places, but as soon as they learn I'm the 
rich Mr. Galloway's son, they think I'm no good. It's 
a terrible handicap to have a rich father. The only 
ones that offer me a job insist that Dad put a lot of 
money into their business and that simply makes him 
crazy. I daren't even mention it any more. [Rys- 
dale laughs.] I wish I could start in on my nerve, 
the way you did. [Rysdale looks at him quickly. 

Rysdale. 
What kind of a position do you want? 

Clarence. 
Anything, just so I can be independent. 

Rysdale. 

I'll keep my eyes open, old man. I'll see what I 
can do. 

Clarence. 
[Impulsively.] Will you. Jack? You haven't a 
place in your office, have you ? 

Rysdale. 
Huh ? Well, I— I— I'll think about it. Let's talk 
it over to-morrow. 

[ZoE enters quickly, l. door at back, wearing 
an evening wrap and pauses to listen. 

Clarence. 
All right. Where is your office now? 



74 *'STEP OUT— jack!'' 

Rysdale. 

In the Wait, I'll tell you, let's have breakfast 

together in the morning. 

Clarence. 
Fine ! Where ? 

Rysdale. 
The Biltmore, eight o'clock. 

ZOE. 

Eight o'clock ! You better go to bed at once, Clar- 
ence. 

Clarence. 
Hello, Sis. [Rysdale r%ses.\ Seems good to see 
Jack agam, doesn't it? 

ZOE. 

Indeed it does. 

[Clarence rises and with a show of indiffer- 
ence goes R. and exits r. door. 

Rysdale. 
If you only knew what it means to me to see you 
again ! 

ZoE. 
Then why haven't you come to see me before ? 

Rysdale. 
I couldn't. 

ZOE. 

Couldn't you have written ? 



*'STEP OUT— jack!*' 75 

Rysdale. 
Not very well. 

ZOE. 

I do not understand, but never mind. Why didn't 
you come to see me this evening? 

Rysdale. 
I did. 

ZOE. 

No, you said you came to see Father. 

Rysdale. 
I said that because I was disappointed that you 
were going out— I was trying to be a good loser. 

ZoE. 
Then you really came to see me? 

Rysdale. 
Yes, to see you. 

ZOE. 

And this is the first opportunity since you returned ? 

Rysdale. 
Yes. 

Zoe. 
Oh, I'm afraid I am going to have a headache. 

Rysdale. 
[Quickly.] I'm sorry; aren't you feeling well? 

Zoe. 
[Sitting on davenport.] Yes, but sometimes the 
theatre gives me a headache. 



76 " STEP O UT—JA CK!" 

Rysdale. 
[Sitting beside her.] You mustn't think about it; 
just think of the good time you're going to have. 

ZOE. 

[Watching him slyly.] If I have a headache, I'll 
have to come home. 

Rysdale. 
[Not perceiving her finesse.] Now you are not 
going to have a headache. 

ZOE. 

Perhaps I won't. Have you been far away ? 

Rysdale. 
Yes, I've been to a far off country, different people, 
different manners and customs, everything different. 

Zoe. 
I thought of you when I was abroad, thought possi- 
bly we might meet. 

Rysdale. 
I have been to a land I hope you will never have to 
visit ; you probably do not know that it even exists. 

Zoe. 
How romantic and interesting. I know ; you have 
been on an exploring expedition and discovered new 
land. 

Rysdale. 
Lots of people have been there before me, in fact, 
it's densely populated. 



'' STEP OUT— JACK l" J J 

ZOE. 
Farthest North or farthest South? 

Rysdale. 
Farthest South — in happiness. 

ZOE. 

What is it called — this far off land ? 

Rysdale. 
It's called — don't be shocked, will you ? 

ZOE. 

Of course not. 

Rysdale. 
It's called — The Land of Down and Out. 

[Impulsively Zoe lays a hand on his arm. She 
only half understands. 

Zoe. 

The Land of — why, you don't mean that 



[Clarence enters r. door, carrying a shaker and a 
cordial glass. He is followed by Lyons, Wilder and 
Galloway. They all come to c. Clarence goes be- 
hind table and pours a drink into the glass. Zoe and 
Rysdale have risen.] Now I'll have to hurry. 

[Exit Zoe l. door at back. Clarence hands 
the cordial to Rysdale. 

Rysdale. 
Thanks, old boy. 

Lyons. 
By the way, Mr. Galloway, could I make an ap- 
pointment with you for to-morrow? 



78 ''STEP OUT— jack!" 

Galloway. 
What for? [Rysdale drinks. 

Lyons. 
I have some new ideas about your advertising. 

Galloway. 
I thought I told you I was all through advertising. 

Lyons. 
You'll change your mind when you see the new 
color scheme my artist worked out for a cake of 
yeast. It's simply stunning. 

Galloway. 
You're wasting your time. I am not going to spend 
any more money advertising yeast. I'm going to put 
it into something else. 

Lyons. 
You can't afiford not to advertise. 

Galloway. 
Now listen; I've advertised yeast for years and 
years, and it's never increased my business a dollar's 
worth. You're in the advertising business, Rysdale, 
what do you think about it ? 

Rysdale. 
The right kind of advertising pays. You can't get 
away from that. 

Galloway. 
Perhaps my business is different. It's never paid 
me. How about it, Wilder ? 



''STEP OUT— jack!" 79 

Wilder. 
I don't know anything about advertising, or yeast, 
but offhand, I should say that yeast was a pretty dull 
subject to get people excited about. 

Galloway. 
You said it ! 

Lyons. 
That's just it ; it can't be done in a minute ; it takes 
time. 

Galloway. 

[With conviction not unmixed with sarcasm.] 
Time and money. 

Wilder. 
Yes, it must take all the brains an advertising man 
has to get people interested in yeast. What does 
yeast do anyway ? 

Rysdale. 
[Simply. '[ Yeast? Why, it rises and makes bread, 
doesn't it? 

Lyons. 
[Sarcastically.] Who would have guessed it? 
Rysdale, you're a wonder ! 

[During the following conversation between 
Galloway and Rysdale, Wilder is think- 
ing deeply and takes a little note-book from 
his pocket, makes a notation with his pencil, 
tears the sheet from the book and, folding 
it, unseen by Lyons and Galloway, slips it 
into his vest pocket. 

Galloway. 
How's business, Rysdale ? 



8o ''STEP OUT— JACK !" 

Rysdale. 
Oh, fine, fine — that is, pretty good. 

Galloway. 
Glad to hear it. Where is your office now? I 
meant to ask you the other day. 

Rysdale. 
\Em'haYrassed.\ Oh, I haven't much of an office. 

Galloway. 

\Sm%l%ng.\ I didn't ask you how much; I said 
where. 

Rysdale. 
[Floundering.] Why, my office — my office is in 
the — in the — I can hardly say where it is. 

Galloway. 
Why not? 

Lyons. 
[Enjoying it.] You act as though you didn't know. 

Wilder. 
[To the rescue.] He doesn't know, exactly; do 
you, Rysdale? 

Rysdale. ^ 

No. 

Lyons. 
I suppose he's forgotten. 

Wilder. 

They're remodeling the building you were in, aren't 
they? 



''STEP OUT— JACK!" 8 1 

Rysdale. 
Er — yes. 

Wilder. 
I thought you decided to take that suite in the 
Realty Building. 

Rysdale. 
[Grasping.] Yes — I — I have. 

Galloway. 
That's where you are, isn't it ? 

Wilder. 
Yes. 

Galloway. 
Fine building ; you can't go wrong there, Rysdale. 
[ZoE enters l. door at hack. Cynthia and 
Mrs. Galloway appear in doorway, l. 

ZoE. 
We're ready. [There is a general movement.] 
Good-night, Mr. Wilder; come again, won't you? 

Wilder. 
There's nothing can keep me away — not even Grand 
Opera. [Zoe and Lyons exit l. door at back. Gal- 
loway, Rysdale and Clarence go up l. As Rys- 
dale passes Wilder, the latter takes the folded slip 
of paper from his vest pocket and hands it to Rys- 
dale.] You dropped this in my office the other day. 

Rysdale. 
[Taking it.] Oh, thank you; what is it? [Rys- 
dale and Wilder are standing a little helow the 



82 " STEP OUT—JA CK ! " 

Others and Rysdale glances at it and reads aloud, 
wonderingly. ] Advertise bread, not yeast. 

Wilder. 

I just thought it might be a good idea. 

[Rysdale pauses to think and then looks at 
Wilder for a moment. 

Rysdale. 
It's a great idea. 

[ZoE enters l. door at back. 

ZoE. 
Come on, Mr. Rysdale. 

Rysdale. 
[Slipping the paper in his pocket.] All right. 
Good-night, Wilder. You've given me something to 
think about. 

Wilder. 
I hope it keeps you awake. 

[Exit Rysdale and Zoe, l. door at back. They 
all disappear now but Galloway and Mrs. 
Galloway, who stand in the doorway. 
Wilder walks up and around the table and 
stands in front of the fireplace. In a mo- 
ment Galloway and Mrs. Galloway come 
down. 

Mrs. Galloway. 

We didn't intend to leave you all alone, Mr, Wil- 
der. 

Wilder. 
Oh, I'm all right ; I don't require much attention. 



''STEP OUT^JACK!" 83 

Galloway. 
Wilder and I are going up to my Holy of Holies to 
have a little chat. 

Mrs. Galloway. 

Indeed you are not. That horrid, stuffy place? 
Stay right here and when I consider you have chatted 
long enough, I shall come to interrupt you. 

[ Mrs. Galloway starts up K> 

Wilder. 
Don't leave us, Mrs. Galloway. 

Mrs. Galloway. 
Don't argue, chat while you may. 

[Mrs. Galloway exits, r. door at hack. 
Wilder offers Galloway a cigar. 

Galloway. 
Oh, thanks. [They light their cigars and sit on 
the davenport, Galloway in the l. corner and Wil- 
der in the r.] Well, I'm glad you came around to- 
night. 

Wilder. 
So am I. I didn't get out of that Grand Opera 
thing very gracefully, but I am satisfied with the re- 
sult. 

Galloway. 

The result is good. 

Wilder. 
How's the yeast business ? 

Galloway. 
Same old story. I can tell you within a few dollars 
just what I'll make every year. 



84 ''STEP OUT— jack!" 

Wilder. 
I should think it would be monotonous. 

Galloway. 
It is. I've trained a lot of young fellows to do 
most of my work. All I do is to look over their re- 
ports. 

Wilder. 
That's good business. No man ever got very far 
who stuck to detail. How would you like a little ex- 
citement ? 

Galloway. 
What do you mean? 

Wilder. 
I mean get into a business where there was some- 
thing doing all the time, something new every minute. 

Galloway. 
Now you're going to tell me about that Tungsten 
proposition. 

Wilder. 
[Laughing.] Exactly. 

Galloway. 
It has a sort of fascination, I'll admit. Ever since 
you first mentioned it, I've been keeping track of the 
quotations ; just couldn't keep my eyes away. 

Wilder. 
If you owned some of that stock you would take a 
new interest in life. 



''STEP OUT— jack!'* 85 

Galloway. 
You mean I would lose every dollar I put in and 
take a new interest in the old yeast business. 

Wilder, 
[Laughing again.] Even that might be worth 
while. As a matter of fact, you probably have all the 
money you will ever need, and I would be foolish to 
suggest your getting in to make a killing, but — I'll 
guarantee you'll have a lot of fun. 

Galloway. 
Now, just between us, what is back of that Tung- 
sten stock? 

Wilder. 
Three things. Fifteen hundred acres of land, a 
hole in the ground and — possibilities. 

Galloway. 
That's what I thought. 

Wilder. 
It's a development proposition. After the devel- 
opment work is done and we find what we know is 
there, the stock will be worth from five dollars a 
share up. 

Galloway. 
And if you don't find what you know is there? 

Wilder. 
There'll be a lot of people who are sad but wiser. 

Galloway. 
That's gambling, and I never gamble. 



b^ ''STEP OUT— jack!" 

Wilder. 
It's not gambling, it's speculation. 

Galloway. 
All right. I never speculate. 

Wilder. 
Are you sure you don't ? I know the word specu- 
lation has a bad sound, and I think that is because 
most men speculate with other people's money, but 
any man who has never speculated with his own 
money has missed a lot. It keeps me young and will 
take ten years oft" any man's life. How much money 
did you spend this year advertising yeast ? 

Galloway. 
A hundred thousand. 

Wilder, 
All right; you said a few minutes ago that it was 
thrown away; / would say that you speculated and 
lost. 

Galloway. 
That is one way of looking at it, but this proposi- 
tion of yours is nothing but speculation pure and 
simple. 

Wilder. 
You are right ; but tell me something that isn't. 

Galloway. 

The yeast business is rather a safe and sound 
proposition. 



''STEP OUT— jack!" 8y 

Wilder. 
It is now, of course; but how about it years ago 
when you started your first Httle factory — did you 
sell your friends any stock then ? 

Galloway. 

[Laughing.] No. They wouldn't risk a dollar. I 
had to worry along alone. 

Wilder. 
Too speculative, I suppose. But how about these 
same friends after you had built up a successful busi- 
ness and didn't need their dollars ? 

Galloway. 
After I had all the money I needed they were sore 
because I wouldn't issue new stock for their special 
benefit. 

Wilder. 
I could go to those same friends of yours to-day 
and sell them Tungsten stock much easier than I 
could ever have sold them stock in your yeast busi- 
ness, and that's just the point I am trying to make, 
namely, that everything is speculative in its infancy. 

Galloway. 
Even babies. Why, I remember my mother telling 
me that when I was born the old women of the neigh- 
borhood shook their heads and said I would never 
live. 

Wilder. 
[Laughing.] And look at you now. 

Galloway. 
[Joining him.] And look at me now. 



88 *^ STEP OUT^JACK ! "" 

Wilder. 
Now just supposing you switched that hundred 
thousand dollar advertising appropriation into Tung- 
sten, you couldn't do worse than lose it, and at the 
very least you ought to doyb^e it. 

Galloway. 
[Interested.] You really believe that? 

Wilder. 
Why, the stock has only to sell at sixty-eight for 
you to double your money, and I believe down in my 
boots that it's worth five dollars. Confidentially, I 
am going to begin to unload my holdings at around 
seventy and all the way up. I wouldn't advise any 
man to put his stock away in a strong box and forget 
about it. I would say hold it until the big fellows on 
the street get on to what is really doing in Tungsten 
and then get out and let some one else hold the bag. 

Galloway. 
I suppose that is just the way some fellows make a 
lot of money. 

Wilder. 
You're right. When Tungsten begins to rise, and 
it will when we are ready to let out certain informa- 
tion, you'll think there's yeast in it. There's nothing 
can stop it but the sky and it's going to hit the blue 
dome with a bang that will be the talk of Broad 
Street; every share will be a Declaration of Inde- 
pendence for the man who owns it, and that is when 
you and I get out from under. 

Galloway. 
Are you holding much of the stock yourself? 



**STEP OUT— jack!** 89 

Wilder. 
I'm black with it. 

Galloway. 
I suppose it would be rather exciting to see the 
price go up and figure just when we ought to sell. 

Wilder. 
Exciting ? Boy ! it will make your hair grow, and 
when you sell it's just like seeing your horse stick her 
nose across the tape. 

Galloway. 
What's it worth to-day ? 

Wilder. 
Closed at thirty-four-and-a-half, but Fm going to 
let you in at the syndicate price of twenty-eight. 
Syndicate will be dissolved in nineteen days and you 
can sell it whenever you want to. 

Galloway. 
I might take a little flyer just for the excitement, as 
you say I can't do worse than lose it. Suppose you 
drop into my office in the morning. 

Wilder. 
All right. Some new ore samples came in to- 
day 

Galloway. 
[Interrupting.] I don't want to see them; I 
wouldn't care a hang for a car load. When I go into 
this, it will be on your say so. 

[Enter Clarence, r. door at back. 



90 ''STEP OUT— jack!" 

Wilder. 
You've got the right idea about this thing Hello, 
Clarence. 

Clarence, 
[Discouraged.] Hello, 

Galloway. 
What are you doing around here? 

Clarence. 
Trying to think of something to do, 

Galloway. 
If you worked the way I do every day, you would 
be glad to stay home and rest. 

Clarence. 
I'm not dodging work, Father ; you can't accuse me 
of that. 

Galloway. 
I don't accuse you ; everybody knows it. 

Clarence. 
Now, Father, that's unfair — I 

Galloway. 
[Interrupting.] I'll tell you what I'll do. You 
and Wilder come up to the billiard-room and I'll play 
you both. 

Wilder, 
You're on. 

Clarence. 
You and Mr, Wilder go ahead; I would rather not 
just how. 



''STEP OUT— JACK!" 91 

Galloway. 
[Rising.] Come on. Wilder. 

Wilder. 
Better come along, Clarence, and help me trim him. 

Clarence. 
Please excuse me this time. [Galloway and 
Wilder link arms and exit r. door at hack. Clar- 
ence lights a cigarette and, sitting on the davenport, 
smokes thoughtfully and dejectedly for a few mo- 
ments. ZoE, followed by Rysdale, enters, l. door at 
back.] Hello! What's up? 

Zoe. 
Where is Father? 

Clarence. 
In the billiard-room with Mr. Wilder. 

Zoe. 
Tell him to come right down, Clarence. Jack 
wants to see him on business. 

Rysdale. 
There is no need to hurry. I merely want to see 
him this evening. 

Clarence. 
All right. [Exit Clarence, r. door at back. 

Zoe. 
Do you realize we rode all the way home and 
hardly spoke a word to each other? 



92 "STEP OUT— JACK!" 

Rysdale. 
It is so wonderful to be near you again. There is 
nothing I want to say, nothing I can say. 

ZoE, 
[Sitting on davenport.^ Well, I have been think- 
ing of what you told me — about your being away. 

Rysdale. 
Let's talk of something cheerful. 

ZOE. 

I think I understand now. You haven't been away 
at all; you have met with some misfortune that has 
kept you away from your friends. 

Rysdale, 
[Sitting beside her.] That's it. I have been down 
and out, but I've come back. I lost everything, Zoe, 
everything but the memory of you and our friendship. 

Zoe. 
You did think of me ? 

Rysdale. 
Think of you! Any man who tries to get you 
away from me is going to have a fight on his hands. 

Zoe. 
Tries to get me away ? 

Rysdale. 

I know just where you stand in my life. You are 
the one big, important factor. Without you, I can't 
think ahead ; I can't plan anything in my life ; my ex- 
istence is a blind alley; with you, I can see far into 



''STEP OUT— jack!" 93 

the future and plan important happy things and you 
are included in all of them. I don't know where I 
stand with you now and I'm afraid to ask, but I do 
know where I am going to stand with you when you 
know me a little better. I have always loved you, 
Zoe, I will always love you. I shouldn't tell you this 
now, but — you're not offended? 

Zoe. 
I believe adversity is a good thing — at times, it 

Rysdale. 
[Turning to her quickly.] Zoe! 

[Enter Clarence, r. door at back. 

Clarence. 
Father will be right down. I'm going back to fin- 
ish his game. 

Rysdale. 
Oh, Clarence, I want to see you for just a minute. 
[Clarence comes down, Zoe rises, 

ZOE. 

I'll tell Mother I'm home and be right back. 

[Exit Zoe, l. door at hack. 

Rysdale. 
Clarence, do you want a place in my office ? 

Clarence. 
[Overcome.] Do I? 

Rysdale. 
I've been thinking it over. You can start in to- 
morrow if you want to. 



94 "STEP OUT— jack!'' 

Clarence. 
Jack, you're not doing this just out of — of sym- 
pathy ? 

Rysdale. 
It's a cold business proposition with me, Clarence. 
I'm all alone, and I need a good, faithful right-hand 
man on whom I can rely. 

Clarence. 
I'll work my head off for you, Jack. 

Rysdale. 
Will fifty dollars be all right to start on? 

Clarence. 
Fifty a month ? 

Rysdale. 
No, a week. 

Clarence. 
Am I worth it, Jack? 

Rysdale, 
You'll think so when you see the work I have cut 
out for you. 

Clarence. 
May I tell Father? 

Rysdale. 
Suit yourself about that. 

Clarence. 
I won't tell him where it is just yet. How about 
our breakfast engagement ? 



''STEP OUT— JACK!" 95 

Rysdale. 

Let's make it seven instead of eight — at Childs' — 
Realty Building. 

Clarence. 
All right. I won't sleep a wink to-night, I'm so 
happy I want to shout. [Swelling up his chest.] I 
need air to fill my lungs. Oh, I've got to go up and 
trim that man Wilder. Before he's through with me 
he'll think he is playing Willie Hoppe. 

[Rysdale is thoughtful. Clarence exits r. 
door at back. Rysdale takes the slip of 
paper Wilder gave him from his pocket and 
reads it aloud. 

Rysdale. 
Advertise bread, not yeast. 

[ZoE enters l. door at back. Rysdale is ab- 
sorbed and doesn't notice her as she comes 
down. 

ZOE. 

[After a pause.] Thinking about — business? 

Rysdale. 
[Rising.] Zoe, it's the biggest proposition I ever 
tackled. [Enter Galloway, r. door at back. 

Galloway. 
What's the matter with the opera ? 

ZoE. 
Jack wants to talk to yoy about some business. 



96 ''STEP OUT— JACK!" 

Rysdale. 
I am afraid I am making it appear too important, 
but Zoe thought you might have retired if we waited 
until the opera was over. 

Galloway. 
She is right. 

Rysdale. 
So I spoiled her evening and the party by leaving. 

Galloway. 
I have never been able to get away with anything 
like that — they always put a ball and chain on me. 

Zoe. 
But this is important. 

Rysdale. 
Please don't think me crazy, Mr. Galloway, but I 
have a plan whereby you can double your yeast busi- 
ness within a year. 

Galloway. 
Where have I heard that before ? 

Rysdale. 

It means that you will have to build another fac- 
tory. 

Galloway. 
It has been five years since I have built a factory 
— what is it? 

Rysdale. 
I would rather not go into it now in detail, but I 
would like to have fifteen minutes of your time to- 
morrow morning. 



""STEP OUT— JACK t ** 97 

Galloway, 
[Suspiciously. ] Some new way to advertise yeast ? 

Rysdale. 
No, sir, I do not want you to advertise yeast at all. 

Galloway. 
Well, sir, if you can tell me in fifteen minutes how 
to double my business, I'll give you a week. 

Rysdale. 

Thank you, Mr. Galloway. What time can I see 
you? 

Galloway. 
I am going to be out most of the morning. Sup- 
posing I drop into your office about eleven o'clock ? 

Rysdale. 

[Up against it.] You don't need to go to that 
trouble. 

Galloway. 

Think of all the trouble you have gone to this even- 
ing. I want to see you. 

Rysdale. 
Well, thank you, I — I 

Galloway. 
Are you going to be in all morning? 

Rysdale. 
Not all morning — part of the morning. 

Galloway. 
Well, would eleven o'clock be about right? 



98 ''STEP OUT— JACK I" 

Rysdale. 
Yes, I can be there at eleven. 

Galloway. 
Let me see, you're in the Realty Building? 

Rysdale. 
[Going ahead blindly. \ Er — yes — the Realty 
Building. 

Galloway. 
What floor? 

Rysdale, 
[Recklessly.] The tenth — that is — no, it's not the 
tenth. You know I've had such a time getting lo- 
cated, I really have forgotten. 

Galloway. 
I'll ask the starter ; he'll know. 

Rysdale. 
Yes, he'll know. I must be going. I have some 
work to do before I go to bed. Good night, Mr. Gal- 
loway. 

Galloway. 
[Shaking hands.] Good night, Rysdale. I like to 
see a young fellow keep busy. I used to be that way 
myself. 

ZOE. 

[As Rysdale turns tip l.] Mother asked me to 
invite you to dinner to-morrow night. Will you 
come ? 



""STEP OUT— JACK!" 99 

Rysdale. 
Surely I'll come, thank you. 

[Rysdale and Zoe exit l. door at hack, talking 
as they go out. Galloway starts up r. as 
Wilder and Clarence enter, r. door at 
back. 

Galloway. 
Oh, here you are. 

Wilder. 
I don't know what you're training this young fel- 
low for, but if it is for anything except handling a 
cue, you're wasting your time. 

Galloway. 
If he was half as good in business as he is at shoot- 
ing those balls around I would be a happy father. 

Clarence. 
[With dignity.] What do you mean, Father? 

Galloway. 
You know what I mean — I want you to go to work. 

Clarence. 
I have a good position. 

Galloway, 
What's your salary? 

Clarence. 
Fifty dollars a week. 

Galloway. 
[Thunderstruck, but pleased.] You're not worth 
it, but I'll never give you away. 



lOO ""STEP OUT— jack!** 

Clarence. 
[Taking the allowance check from his pocket.] 
Here's your last allowance check ; I no longer need it, 
or want it. 

Galloway. 
Don't try to fool me, young man. 

Clarence. 
[Sternly.] Do I look as though I were fooling? 
Take it. 

Galloway. 
Oh, you better keep it. 

Clarence. 
No, thank you. I like this independent feeling. 
[Swelling up.] It's great, 

[Galloway takes the check and slowly tears 
it up, 

Galloway. 
Fifty dollars a week. Clarence, my boy, I'm proud 
of you. 

Clarence. 
Where's Rysdale? 

Galloway. 
He left in a hurry ; said he had some work to do. 

Wilder. 

Rysdale's a smart young fellow, isn't he, Mr. Gal- 
loway ? 

Galloway. 
You bet He is. He left the opera with the best girl 
in the world because he had some business on his 
mind. 



''STEP OUT— jack!** IOI 

Wilder. 
You can't beat that, can you ? 

Galloway. 
No, sir. Clarence, you can study that young fellow 
and learn something. 

Clarence. 
That's just what I'm going to do, Father. 



CURTAIN 



ACT III 

SCENE. — The following morning. A suite of offices 
in the Realty Building, fourteenth floor. The 
roopi has the same color walls, woodwork, etc., 
as Wilder's office in Act I. Double win- 
dows at R., zmih dark colored drapes. A door at 
c. leading into corridor. A door at l. leading 
into adjoining room. Sectional book-shelves at 
back to the right of c. door. The shelves are 
bare. A second-hand typewriter on the floor l., 
below L. door, and near it a New York telephone 
directory. 

Before the rise of the curtain sounds of activity are 
heard on stage, pounding, talking and the moving 
about of heavy furniture. As the curtain rises 
Rysdale is discovered standing on window-sill, 
R., arranging the hang of the curtains. He is 
well dressed in a light business suit, but is work- 
ing in his shirt sleeves. An Electrician is busy 
at R. with the zvires of the telephone. His bag 
of tools and the instruments are beside him. A 
Painter is just finishing the lettering on c. door, 
which reads, "J. C. Rysdale, Advertising Engi- 
neer." " Private." The door is swung open. 
Two Teamsters enter c. door carrying a mahog- 
any stenographer's desk. They stop at c. and 
look to Rysdale for directions. 

[Note that everyone works fast in this scene, indicat- 
ing that Rysdale has them under pressure.^ 
102 



""STEP OUT— JACK ! '' 103 

Rysdale, 
A little further over. \The Teamsters cany desk 
u until Rysdale speaks.] There! 

[The Teamsters put down desk and exit 
quickly, c. door. Rysdale jumps down 
from sill and m.oves the desk a little to suit 
himself. The Painter begins gathering up 
his things. 

Painter. 

Anything more you want done ? 

[Rysdale turns and surveys his work. 

Rysdale. 
That'll be all, thank you. 

Painter. 
Do you want the bill now ? 

Rysdale. 
Can't be bothered now. Mail it. 

Painter. 

Yes, sir. 

[Painter is about to exit, c. door, when the 
two Teamsters enter there, carrying a long, 
flat-top mahogany desk. The Painter exits, 
c. door. 

Rysdale. 
Over here. [The Teamsters carry the desk r. and 
place it across the windows. The Teamsters exit c. 
door. Rysdale glances nervously at his watch, then 
steps to l. door. The Electrician now places the 
telephone on the flat-top desk. Rysdale speaking 



X04 ''STEP OUT— jack!" 

off L.] That looks pretty good, Clarence; what do 

you think of my curtains ? 

[Clarence, also in his shirt-sleeves, enters, l. 
door, carrying a hammer, and stands in ad- 
miration of the curtains. 

Clarence. 
Jack, you hang curtains just like a bride. 

Rysdale. 

Thanks. {The two Teamsters now enter, c. door, 
one carrying a swinging chair for the desk and a 
stenographer's chair, and the other two straight office 
chairs. The last man exits at once and reenters with 
two more straight chairs and then waits at the door. 
The first Teamster takes a delivery book from his 
pocket for Rysdale to sign. ] That's all of it ? 

First Teamster, 
Yes, sin [Rysdale signs the book. 

Clarence. 
[Taking a straight chair.] May I use one of these 
out there? 

Rysdale. 
Go ahead. [The two Teamsters exit, c. door. 
Clarence exits, l. door, carrying a chair. Rysdale 
begins to arrange the other chairs. To Electri- 
cian.] When can I have service ? 

Electrician. 
In just half a minute now. 

Rysdale. 
[Examining telephone.] Is this a nickel 'phone? 



« STEP OUT— J A CK !" 10$ 

Electrician. 
Yes, sir. 

Rysdale. 
I didn't order a nickel 'phone. 

Electrician. 
\Pausmg. ] I can change it, but you won't be able 
to get service to-day. 

Rysdale. 
Go ahead, don't stop; I'll have it changed some 
other time. 

[Rysdale trus the drawers of his desk, puts 
the telephone book on the desk and is plac- 
ing the typewriter on the stenographer's 
desk when Clarence enters, l. door. The 
Electrician is now about finished and in 
low tones is testing its connection with Cen- 
tral office. 

Clarence. 
Haven't you some pictures for the walls ? 

Rysdale. 
No, I — I am going to get some new ones. [The 
Electrician gathers up his tools.] All right? 

Electrician. 
Yes, sir. 

Clarence. 
Shouldn't that stenographer be here by this time? 
[Exit Electrician, c. door. 

Rysdale. 
She should. Call them up for me, will you? 



I06 ''STEP OUT— jack!" 

Clarence. 
Sure. 

Rysdale. 
[Feeling in his pockets.] You'll have to have a 
nickel for that 'phone. I haven't any. 

Clarence. 
[Same business.] Just one. [He holds it up. 

Rysdale. 
Good. 

[Clarence looks up the number in the book. 
Rysdale glances about, looks at his watch 
and exits, l. door. 

Clarence. 
[Over telephone.] Main four-eight-five. That's 

right. Hello Typewriter Exchange ? Where is 

that stenographer you were going to send over to Mr. 

Rysdale's office ? I wouldn't be telephoning if 

she were She must have been kidnapped 

Well, if she isn't here in fifteen minutes we have to 

try some one else All right, good-bye. [As 

Clarence hangs vip, Rysdale enters, l. door, wearing 
his coat.] She's on her way over. 

Rysdale. 
That's good. You see, Clarence, we must have the 
office settled and running before eleven o'clock. 

[Clarence looks at his watch. 

Clarence. 
That was the time Dad was to be here, wasn't it ? 

Rysdale. 
Yes. 



""STEP OUT— jack!'' 107 

Clarence. 
[Worried.] Jack, you haven't sold him stock in 
yuur business, have you ? 

Rysdale. 
No, sir. Don't you worry about that. I took the 
tip you gave me last night. 

Clarence. 
Did you say anything to him about hiring me ? 

Rysdale. 
Not a word. 

Clarence. 
Good! 

Rysdale. 
Clarence, that printer promised to have a hundred 
letter heads printed by ten o'clock — will you run over 
and get them for me ? 

Clarence. 
Sure. 

Rysdale. 
On your way back stop in the stationery store 
down-stairs and get some pens, pencils, ink-wells, 
desk calendars and so forth, enough to start us off. 

Clarence. 
[Going up l.] All right. Leave it to me. 

Rysdale. 
And hurry back. 



I08 ''STEP OUT— jack!"* 

Clarence. 

You bet. 

\Exit Clarence, c. door. Rysdale, with 
hands in his pockets, walks about deep in 
thought. Wilder enters, l. door, smoking 
a cigar. 

Wilder. 
Hello! 

Rysdale. 
Hello there. 

Wilder. 
Quick work, all right ! Got your name on the door 
and everything, 

Rysdale. 
It was this or nothing. 

Wilder. 
You are lucky, all right. You took an awful 
chance on finding anything vacant. You'll need both 
rooms and there's nothing like putting up a front. 

Rysdale. 
It's putting up the rent that bothers me. 

Wilder. 
How much? 

Rysdale. 
Two hundred and twenty-five, — in advance. 

Wilder. 
Not bad. 



""STEP OUT— JACK t"* I09 

Rysdale. 
I didn't have any money, so I put him off and gave 
your name as a reference. Do you mind? 

Wilder. 
The agent called me up and I told him I gave you 
five hundred the other day without the scratch of the 
pen. He fell for it. 

Rysdale. 
Good for yoiL I suppose you've guessed what it*s 
all about ? 

Wilder. 
I have a sneaking suspicion. 

Rysdale. 
I am framing up a deal this morning that will mean 
around twenty-five thousand dollars in commissions 
and start me in business again. 

Wilder. 
And you had to have an office to put it over ? 

Rysdale. 
Exactly. 

Wilder. 
Supposing it doesn't go over? 

Rysdale. 
Then I go to jail. I've gone in debt for everything 
here. After paying for my breakfast I had ten cents 
left. I bought a six-cent cigar and there's my pres- 
ent working capital [Taking four pennies from his 
/loc^^/.] four cents. 



no " STEP OUT— J A CK ! " 

Wilder. 
Young fellow, you've simply got to put it over. 

Rysdale. 
I'll put it over or bust, and the first thing I am 
going to do with the money is to pay you back that 
five hundred. 

Wilder. 

You fulfilled your part of the bargain. You don't 
owe me a nickel. 

Rysdale. 

I warn you, you are not going to sell Galloway any 
stock. 

Wilder. 
No ? I'm going over to see him now. 

Rysdale. 
You won't find him. He'll be here at eleven. 

Wilder. 
Oh, thanks. What are you going to do with him ? 

Rysdale. 
Get him to advertise bread. 

Wilder. 
Bread instead of yeast, huh? 

Rysdale. 
That's a great idea, Wilder. I'll bet my life Gallo- 
way has never thought of it. I am going to use it. 

Wilder. 
Go to it. 



''STEP OUT— JACK 1" UI 

Rysdale. 
After all you've done for me, it seems like turning 
on you. I don't believe for a minute that Galloway 
will buy your stock and advertise, both. 

Wilder. 
Then it will be a fair and stand-up fight between 
us. Our cards are on the table. If you can talk him 
out of Tungsten into advertising, more power to you. 

Rysdale. 
But this is your own idea I am using. 

Wilder. 
[Smiling.] I gave it to you, didn't I? There 
wasn't any string to it. 

Rysdale. 
Wilder, with your brains, your personality, your 
experience, you would make a great business man if 
you only would get into some legitimate game. 

Wilder. 
What's the matter with my game ? 

Rysdale. 
It doesn't make you many friends, does it, real 
friends? 

Wilder. 
[Seriously. "[ Sometimes. Sometimes not. 

Rysdale. 
You have done more for me than I can ever re- 
pay [Suddenly.] Why don't you come in with 

me, Wilder, be my partner ? I'll give you an interest 
in my business for that five hundred. 



112 " STEP OUT— J A CK ! " 

Wilder. 
You haven't any business, — ^yet. 

Rysdale. 
I will have before the day is over. We'll make a 
big thing of it. It will be the best investment you 
ever made. 

Wilder. 
I don't know anything about advertising. 

Rysdale. 

You knew enough to advertise bread instead of 
yeast. You know more right now than I do. Come 
on, Wilder. 

Wilder. 
No, I've been in the other game too long. 

Rysdale. 
You've been in it long enough. Think it over. 

Wilder. 

All right. 

[Miss Williams, the new stenographer, en- 
ters, l. door. She is about thirty-five, plain 
and unattractive, but a regular man-hunter. 

Miss Williams. 
Good morning. 

Rysdale. 
Oh, good morning. 

Miss Williams. 
Is Mr. Rysdale in? 



'^STEP OUT^JACKl** II3 

Rysdale. 
I am Mr. Rysdale. 

Miss Williams. 
I am Miss Williams from the Typewriter Ex- 
change. 

Rysdale. 
You'll find a closet for your things in the other of- 
fice. I'll be with you in a moment. 

Miss Williams. 

Thank you. 

{She lays her hand-hag on the typewriter desk, 
and then exits, l. door, removing the pins 
from her hat as she goes out. 

Wilder. 
She's plain enough to be a good worker. 

Rysdale. 
Yes. 

Wilder. 
Anything I can do to help out? 

Rysdale. 
Nothing I can think of, thank you. 

Wilder. 
[Starting up l.] Well, don't hesitate to call on me. 

Rysdale. 
By the way, did they deliver that Encyclopedia you 
bought of me last week? 



114 ''STEP OUT— JACK I " 

Wilder. 
Yes, and it's all right, too. 

Rysdale. 
Those shelves look pretty bare. Could I borrow it 
for a day? 

Wilder. 
Why, certainly. I'll send Bud right up with it. 

Rysdale. 
No, no, I'll send down for them. 

Wilder. 
[In c. doorway.] No you won't. Bud needs a 
little work. Success to you. 

Rysdale. 
[Going up.] Thanks, Wilder. Come in again. 
[Exit Wilder, c. door. Rysdale goes to l. door.] 
Miss WilUams. 

Miss Williams. 

[Off I..] Yes, sir. 

[Rysdale crosses r. to his desk and Miss 
Williams enters, l. door, without her hat 
and coat. 

Rysdale. 
I have an important contract proposition to draw 
up, so please familiarize yourself with the machine at 
once. 

Miss Williams. 
[Stiffly.] I am familiar with all the standard ma- 
chines. 



''STEP OUT— JACK!" 11$ 

Rysdale. 
I'm glad of that. 

[Miss Williams sits at her desk, takes the 
cover from the machine and, after clattering- 
a few keys, turns to Rysdale with ill-con- 
cealed disgust. 

Miss Williams. 
Do you expect me to write on this — reUc? 

Rysdale, 
It's a second-hand machine, I know, but it is sup- 
posed to be in first-class condition. 

Miss Williams. 
[Peering into it.] It's a first-class ruin. 

Rysdale. 
{Coming over.] Write a few lines, so I can see 
how it looks. [Miss Williams looks about for paper 
and begins opening the drawers of her desk.] That's 
a new desk ; there is no paper in it, but I'll have some 
for you in a few minutes. 

Miss Williams. 
Oh, I suppose it will write, but your letters will 
never look like anything. 

Rysdale. 
What's the matter with it ? 

Miss Williams. 
Well, it needs a new set of type, a new ribbon, a 
new roller, and there's something the matter with the 
carriage spring. 



.II 6 ''STEP OUT— jack!" 

Rysdale. 
Otherwise it's all right ? 

Miss Williams. 
I think the keys are out of alignment, but I can't 
tell for certain until I have some paper. 

Rysdale. 
Should I get a new machine ? 

Miss Williams. 
You'll never be satisfied with this. 

Rysdale. 
I'll tell you what I'll do. If you satisfy me, I'll let 
you select a new machine. 

Miss Williams. 
If / satisfy you? 

Rysdale. 
I don't know ; you may be as bad as the machine. 

Miss Williams. 
That's what I get for accepting a twenty-dollar-a- 
week position. It serves me right. Never before 
have I worked for less than twenty-five dollars. 

Rysdale. 
Why did you leave your last position ? 

Miss Williams. 
[With excessive dignity. "l I was obliged to leave 
for family reasons. 

Rysdale. 
Family reasons? Are you married? 



^'STEP OUT— jack!'* WJ 

Miss Williams. 
No, but my employer was. 

Rysdale. 
Oh, I see ; married man with jealous wife. 

Miss Williams. 
[Pleased and flattered. ] Yes ; how clever you are ; 
but it wasn't my fault. 

Rysdale. 
[With double meaning.] Oh, I'm sure of that. 

Miss Williams. 
That's so kind of you to say, Mr. Rysdale. Some 
women are so unreasonable. 

[From now on she drops her critical attitude 
and tries to please him. 

Rysdale. 
You won't have any trouble of that kind here. 

Miss Williams. 
[With a sigh.] I'm so glad you're not married. 
It's the married men I'm afraid of. They are always 
more dangerous. 

Rysdale. 
It makes no difference whether I am married or 
not. I am running this office 

Miss Williams. 
[Quickly.] Oh, I am sure we shall get on together 
beautifully. 

[Rysdale takes a folded piece of paper from 
his pocket. 



1 1 8 " STEP OUT— J A CK I " 

Rysdale. 
I have written this out in long hand. You might 
try to read my writing and then you can copy it as 
soon as the stationery comes. 

Miss Williams. 
[Looking it over.] What a beautiful manly hand! 
[Rysdale turns to give her a look, but she 
looks away coquettishly. 

Rysdale. 
I am going out to get shaved. If anyone calls, tell 
them I'll be back in five minutes and have them wait. 

Miss Williams. 

I understand. 

[Rysdale exits, c. door. Miss Williams 
takes a little mirror and powder puff from 
her hand-bag and proceeds to beautify her- 
self with much care. While thus engaged 
Mr. Seamons enters, c. door. 

Seamons. 
Good morning, is Mr. Rysdale in? 

Miss Williams. 
He just stepped out. Won't you wait ? 

Seamons. 
How long will I have to wait ? 

Miss Williams. 
About five minutes. 

Seamons. 
Is there a Mr. Lyons here? 



''STEP OUT— JACK!" II9 

Miss Williams. 
I never heard that name. 

Seamons. 
[Looking at his watch.] I was to meet him here 
at this time. 

Miss Williams. 
You might wait for him.- 

Seamons. 
I'll be back shortly, and if Mr. Lyons should come 
in before I return, please tell him to wait for me, will 
you? 

Miss Williams. 

Certainly. I'll be glad to. 

[Seamons takes a careful look around the of- 
fice and exits slowly, c. door. Miss Wil- 
liams puts away her toilet articles and 
walks to windows and is looking out when 
Buddie enters l. door with the set of Ency- 
clopedia held in place by his chin. He has 
all he can carry. 

Buddie. 
[After waiting a moment.] Well, where d'you 
want them? 

Miss Williams. 
I am sure I don't know. What are they? 

Buddie. 
Books. And in about a second dis is going to be a 
juggling act. 



I20 ""STEP OUT— JACK!" 

Miss Williams. 
Why don't you put them on the book-shelves ? 

Buddie. 
\W%th his last breath.] AH right. [He gets them 
to Rysdale's desk just as they begin to get away from 
him, and he and the books sprawl over the desk.] 
Whad' I tell you. 

[Miss Williams helps him put them on the 
shelves. 

Miss Williams. 
They look like very nice books. 

Buddie. 
Yes, dey look all right, but dere ain't nothing in 
them. Dey's supposed to tell you anything you wants 
to know, about famous men and all dat; and, say, 
dere ain't a thing about de New York Gints, not even 
any batting averages. 

Miss Williams. 
That's too bad. Do you know Mr. Rysdale very 
well? 

Buddie. 
Sure I know him. 

Miss Williams. 
Is he married? 

Buddie. 
[Going l.] Search me. 

Miss Williams. 
Aren't you his office boy ? 



''STEP OUT— jack!" 121 

Buddie. 
[Turning at L. door.] Naw, naw. I work for 
Mr. Wilder. You bet your sweet life he ain't mar- 
ried. 

Miss Williams. 
I didn't ask you if he was. 

[As Buddie turns to go, Clarence hurries in 
L. door with his arms full of office supplies 
and humps into him. 

Buddie. 
Say! 

Clarence. 
Oh, excuse me, my boy. 

Buddie. 
[As a parting shot.] What d'you think you're do- 
ing — sliding into second ? 

[Exit Buddie, l. door. Miss Williams 
comes down l. and Clarence unloads his 
supplies on Rysdale's desk. 

Miss Williams. 
Are you the office boy ? 

Clarence. 
[Busy with the bundles.] Sure ! Don't I look like 
one? 

Miss Williams. 
No, you look too old. 

Clarence. 
Looks are sometimes deceiving. Now, you don't 
look a bit like a stenographer, but I'll bet that's what 
you are. 



122 "STEP OUT— JACK!" 

Miss Williams, 
\Coyly, taking it as a compliment.] Isn't it 
strange, a great many men have told me the same 
thing. But you are right, I am Mr. Rysdale's private 
stenographer. 

Clarence. 
[Stopping to look at her. ] Private stenographer ! 

Miss Williams. 
Perhaps confidential would be a better or more 
proper word 

Clarence. 
[Busy again.] Yes, confidential sounds good. My 
name is Galloway. 

Miss Williams. 
Mine is Bernice Williams. 

Clarence. 
No, is that so? Where is Mr. Rysdale? 

Miss Williams. 
He went out to get shaved, but he didn't look as 
though he needed a shave at all. 

Clarence. 
Oh, he gets shaved every week whether he needs it 
or not. 

Miss Williams. 
[Turning on him.] Say, what are you tiying to 
do, — ^kid me? 

Clarence. 
My dear young lady ! 



''STEP OUT— jack!" 123 

Miss Williams. 
{Seeking for information.] Are you new here, or 
have you known Mr. Rysdale some time '* 

Clarence. 
This is my first day. 

Miss Williams. 
Then I don't suppose you have met his wife yet. 

Clarence. 
[Laughs.] His wife? 

Miss Williams. 
Is there something funny about her? 

Clarence. 
I don't know. I haven't met her yet. 

Miss Williams. 
Do you know that he is married ? 

Clarence. 
I know this, that if he is married, she'll be in here 
soon enough to look you over. 

Miss Williams. 
[Resignedly.] I suppose so. I hope she hasn't a 
jealous disposition. Men always seem to like me 
better than women. 

Clarence. 
It's fate, I guess. 

Miss Williams. 
You look too old to be an office boy. 



124 ''STEP OUT— jack!" 

Clarence. 
I'm younger than I look ; had to work since I was 
eight years old, earn my own living. 

Miss Williams. 

Poor boy, how dreadful. 

\By this time Clarence has Rysdale's desk 
fixed up with ink-well, a large blotter pad, 
pens, pencils, a spindle, etc., and now undoes 
a package of stationery. 

Clarence. 
You want some of these letter heads, don't you? 

Miss Williams. 
Yes, please. 

[Clarence takes over to her desk a supply of 
letter heads, envelopes and a pencil and exits 
l. door, with the balance of his supplies. 
Miss Williams studies the letter head and 
then slips one into her machine and begins 
rapidly to copy the contract. Rysdale en- 
ters, c. door. 

Rysdale. 
Hello; anyone call? 

Miss Williams. 
A boy brought those books. Oh, yes, a gentleman 
called and inquired for you and Mr. Lyons, I think- 
he said. 

Rysdale. 
Who was it ? 



" STEP OUT— J A CK ! " 1 2$ 

Miss Williams. 
He didn't give me his name, but he said he would 
be back in a few minutes. 

RySDALE. 

Always get their name after this, please. 

Miss Williams. 
Yes, sir, I didn't know you wanted me to, but I will 
after this. 

[Rysdale turns and is looking at his desk, 
when Clarence enters, l. door, and joins 
him. 

Rysdale. 
That looks fine, Clarence. 

Clarence. 
Hope I didn't forget anything. 

Rysdale. 
Got anything to smoke? 

Clarence. 
[Offering him his case.] A cigarette. 

Rysdale. 
Thanks. 

Clarence. 
May I, too? 

Rysdale. 
Certainly, go ahead. [As they light up, Miss Wil- 
liams stares in amazement at Clarence. Rysdale 
to Miss Williams.] Would you mind stepping into 
the other office for a moment ? 



1 26 " STEP OUT— J A CK ! " 

Miss Williams. 

[Sweetly.] Certainly not. 

[Exit Miss Williams, l. door. 

Rysdale, 
I don't believe we want her in here. 

Clarence. 
I should say not. 

Rysdale. 
[Surprised. ] Why ? 

Clarence. 
If I didn't know you were single, I would think 
your wife picked her out. 

Rysdale. 
[Laughs.] I don't care about her looks, it's the 
noise. 

Clarence. 
She told me she was your confidential stenog- 
rapher. 

Rysdale. 

That settles it. We'll move her desk into the other 
office. 

Clarence. 
[BoTmng.] Near me, thank you. 

Rysdale. 
[Stepping to l. door.] Miss Williams. [Miss 
Williams enters, l. door.] We have decided to 
have your desk in the other office. 



''STEP OUT— JACK!" 12/ 

Miss Williams. 
Perhaps that would be better, 

Rysdale. 
Yes, you see, I want you to interview everyone 
who calls. Do not let anyone enter this office with- 
out announcing them. 

Miss Williams. 
[Attempting indifference.] To avoid any misun- 
derstanding, will it be necessary to announce your 
wife when she calls? 

Rysdale. 
My wife ? 

Miss Williams. 
Mrs. Rysdale, perhaps I should have said. 

Rysdale. 
{Sternly. ] Announce everybody. 

Miss Williams. 
Very well. 

Rysdale. 
Have you made a copy of that contract ? 

Miss Williams. 
I haven't finished it. 

Rysdale. 
Please do so at once. This is Mr. Galloway, my 
office manager. Please do whatever he tells you, as 
he has full authority and I hold him responsible in all 
matters pertaining to the office. [Miss Williams 
gasps. Clarence is a little surprised.] Help me 



128 ''STEP OUT— jack!" 

with the desk, Clarence. [Rysdale and Clarence 
carry the desk to l. door and exit. Miss Williams 
follows them, pushing her chair. Rysdale reenters 
L. door before she exits.\ As soon as you finish that 
contract, keep busy on something else, especially 
when anyone comes in. Keep writing, write to your 
friends, write anything, but keep busy. 

Miss Williams. 
I understand. 

Rysdale, 
Thank you. 

[Exit Miss Williams, l. door. Rysdale 
goes to his desk and, taking a few of the 
letter heads, tears them into four pieces and 
is jamming them onto the two spindles on 
his desk when Clarence enters, l. door. 
Clarence closes the door after him. 

Clarence. 
Aren't the letter heads all right? 

Rysdale. 
[Tearing more of them.] Haven't looked at them. 

Clarence. 
Well, I — I paid five dollars for that stationery. 

Rysdale. 
Wouldn't he trust you ? 

Clarence. 
No. I gave him all I had and promised the bal- 
ance when he sent over the rest of it. 



''STEP OUT— JACK!" 1 29 

Rysdale, 
That's good. Just keep track of these little items, 
Clarence, until v/e have time to settle up. [Feeling 
in his pockets.] I haven't any change. I am filling 
up these spindles so it will look busy around here. 

Clarence. 
Say, Jack, before Father comes 



Rysdale. 
{Glancing at his watch.\ Eleven o'clock; he 
should be here now. 

Clarence. 
Before he gets here, can't you give me some real 
work to do? I want to be terribly busy, so I won't 
have time to talk to him. 

Rysdale. 
A good idea. [Rysdale thinks a moment.'] I have 
it. [Goes to book-shelves.] Here you are, B, B, B, 
Y, Y, [Takes down two volumes.] B for Bread, Y 
for Yeast ; read up on Bread and Yeast, then write it 
down. Or, better yet, dictate it to Miss Williams; 
that'll keep her busy, too. As soon as she has a page 
finished, bring it in to me. 

Clarence. 
[Taking hooks.] Great ! I'll make the one-armed 
paperhanger look like a chess player. [Clarence 
rushes off l. door, leaving it open. The sound of 
feminine voices is now heard with the clatter of the 
typewriter. Clarence off l.] Well, go in and see 
anyway. 

[Enter ZoE and Cynthia, l. door. 



I30 ""STEP OUT— jack!" 

Rysdale. 
Hello ! Good morning. How are you ? 

[Rysdale dusts off the chairs with his hand- 
kerchief. 

ZOE. 

Are you glad to see us ? 

Rysdale. 
Glad? I — I'm speechless. 

Cynthia. 
It's Mr. Lyons' fault. 

Rysdale, 

That you are — I always knew he would bring me 
good luck. 

ZoE. 
We're shopping. We almost ran over poor Mr. 
Lyons. He said he was on his way to see you, so 
we picked him up. 

Cynthia. 
Zoe wanted to see your office and Mr. Lyons said 
he did, too. 

Rysdale. 
Fine. Where is he? 

ZoE. 
[Pointing l. ] Out there. 

Cynthia. 
I think you have a beautiful office. 



""STEP OUT— JACK!'' 1 31 

Rysdale. 
What's the idea? 

ZOE. 

I think so, too, everything is so new and — \Looh- 
ing about.] simple. 

Cynthia. 
Isn't it ? I would like to work here. 

ZOE. 

What makes Clarence act so terribly important? 

Rysdale. 
He's my office manager. 

ZOE. 

Who ever thought he could be so sly about any- 
thing. 

Cynthia. 
Mr. Wilder is in this building, isn't he? 

Rysdale. 
Yes, two floors down. 

ZOE. 

Go back to your horrid old business, we're going. 

Rysdale. 
Don't go. I expect your father here in a few min- 
utes. I haven't anything to do until he comes, and 
afterwards what do you say if I get Wilder and we 
all lunch together? 

Cynthia. 
I think that would be lovely. 



132 ""STEP OUT— JACK I" 

ZoE. 
How about our shopping ? 

Rysdale. 
Oh, you can shop any time. 

ZOE. 

We might shop now and then call for you. 

Rysdale. 
Will you do that? 

ZOE. 

What time? 

Rysdale. 
Twelve-thirty, but you can't go unless you promise 
to come back. [Enter Mr. Lyons, l. door. 

Lyons. 
Good morning. 

Rysdale. 
Good morning, Mr. Lyons ; come in. 

Lyons. 
I didn't know you had your office in this building 
until Mr. Galloway told me. 

Rysdale. 
Well, I haven't been here very long. 

Lyons. 
{Gingerly touching the paint on c. door.] I should 
say not, judging by the freshness of the paint. 



''STEP OUT— jack!" 133 

Rysdale, 
That isn't the only thing that's fresh around here. 
[Clarence enters, l. door. 

Clarence. 
Pardon me, may I see you a moment, Mr. Rysdale? 

Rysdale. 
[Crossing to l, door where Clarence stands.] 
Excuse me. 

[Lyons walks over to Zoe and Cynthia, and 
Rysdale and Clarence confer in low tones 
near l. door. 

Clarence. 
The agent of the building is out there and I can't 
get rid of him. 

Rysdale. 
What does he want ? 

Clarence. 
The first month's rent in advance » 

Rysdale. 
You tell him I am in the midst of an important con- 
ference and as soon as I am free you will get me to 
sign a check. 

Clarence. 
He says he will have to have it right away. 

Rysdale. 
Tell him we're all upset with moving, but that you 
will bring it in to-day. 



1 34 « STEP OUT— J A CK!" 

Clarence. 

All right. 

[Clarence turns to go and Miss Williams 
enters, l. door. 

Miss Williams. 
Mr. Galloway wants to see you. 

Rysdale. 
Have him come right in. 

[Exit Miss Williams, l. door. Clarence 
throws hack his shoulders, takes a brace and 
starts to exit and bumps into his father as 
he enters, l. door. 

Galloway. 
Hello, Clarence, where's the fire? 

Clarence. 
Excuse me. I'm very busy. 

[Exit Clarence, l. door 

Galloway. 
[Seeing Zoe.] Well, well, quite a gathering. How 
does it come your mother isn't here too? Isn't it 
enough to take up the time of these young men in the 
evening without bothering them during the day ? 

Lyons. 
This is a special occasion. Look out for the paint. 

Galloway. 
[Side-stepping.] Paint, what paint? 

Rysdale. 

[Laughing.] Mr. Lyons has been trying to rub the 
paint off the door. 



''STEP OUT— jack!' 135 

ZOE. 

[Going l.] Good-bye, we're going. 

Cynthia. 
[Following.] Don't forget to get Mr. Wilder. 

Rysdale. 
[Going with them.] I won't. Don't forget to 
come back. [Exit Zoe and Cynthia, c. door. Rys- 
dale goes to c. door and locks it.] Sit down, Mr. 
Galloway. [Galloway does so and Lyons starts to 
do likeiinse.] Did you want to see me, Mr. Lyons ? 

Lyons. 
Not particularly, but I did want to see Mr. Gallo- 
way. 

Galloway. 
I had an appointment with Mr. Rysdale for eleven. 

Lyons. 
If you don't mind, I'll wait for you in the outer 
office. 

Galloway. 
All right. [Exit Lyons, l. door. Rysdale closes 
the door after him and goes hack to his desk.] Is 
this the job Clarence told me about? 

Rysdale. 
I suppose it is. 

Galloway. 
What did you want to hire him for? He hasn't 
any experience. 



136 ''STEP OUT— jack!" 

Rysdale. 
He must get his experience somewhere and he is 
just the kind of a man I want. 

Galloway. 
Well, make him toe the mark the way I had to. 
[Clarence jerks open the door at l. and 
rushes in to Rysdale. 

Clarence, 

It's all right, Mr. Rysdale ; he said you could send it 
down any time to-day. 

Rysdale. 
Oh, yes ; thank you, Clarence. 

[Clarence wheels and never looking at his 
father rushes off l., slamming the door after 
him. Galloway stares. 

Galloway. 
[After an open-mouthed pause.] I never knew 
that boy to have so much pep. New broom, new 
broom, make him keep it up. 

Rysdale. 
Oh, he's all right. 

Galloway. 
Well, young fellow, here's your fifteen minutes; 
what have you got ? 

Rysdale. 
You are the largest yeast manufacturer in the 
country, are you not ? 



« STEP OUT~JA CK '" 1 3; 

Galloway. 
I own or control seventy-nine per cent, of the yeast 
made in the United States. 

Rysdale. 
[Genuinely interested.] Is that so? 

Galloway. 
Yes, and let me warn you, the only way I can in- 
crease my business, beyond the slight gains caused by 
the increase in the population, is to put some com- 
petitor out of business. That's something I do not 
want to do, and besides it would get the Government 
after me. 

Rysdale. 
Then all you can do is to increase the consumption 
of yeast. 

Galloway, 
[Warily.] That's about the proposition. 

Rysdale. 
As I understand it now, the population of the coun- 
try increases a little year by year with a correspond- 
ing increase in yeast consumption. 

Galloway. 
Yes, except that the consumption of yeast does not 
increase in the same proportion as the population. 
We're always a little behind and we're getting farther 
behind every year. 

Rysdale. 
That is very interesting. Bread is the principal 
thing for which yeast is used, of course. 



138 ""STEP OUT— JACK I'' 

Galloway. 
Yes, sir. 

Rysdale. 
And all these years you have been advertising its 
goodness, its purity, how well it works and all that? 

Galloway. 
Yes. I have increased my advertising appropria- 
tion from twenty-five to one hundred thousand dol- 
lars a year and it hasn't tipped the scales in my favor 
a hair's breadth. 

Rysdale. 
Then if you control the same percentage of busi- 
ness year after year there can be only one conclusion, 
namely that the people are eating less bread than 
formerly. 

Galloway. 
That's the logical conclusion. 

Rysdale. 
Then how would it be to make them eat more 
bread ? 

Galloway. 
Fine, but how are you going to do it ? 

Rysdale. 
I'll answer that by asking you who made the people 
eat Corn Flakes, Grape Nuts, Shredded Wheat, 
Puffed Rice, Postum, Cracker Biscuit and all the rest 
of the new-fangled food stuff not nearly so whole- 
some or beneficial as good well baked bread, bread 



""STEP OUT— jack!" 139 

the staff of life, the oldest food product in the history 
of the world? Who made them do it? An adver- 
tising man, not a fifty dollar a week copy writer, but 
in each case a man with brains, instinct and origi- 
nality. The people never knew these things existed 
until he told them in an attractive, pleasing way. 
Why, when you stop to think of the other food 
products that have been advertised, it's a wonder the 
people haven't stopped eating bread altogether. 

Galloway. 
\Seriously.\ Yes, that might make a difference. 

Rysdale. 
If the people stopped eating bread, you would have 
to find another business, wouldn't you ? 

Galloway. 
I suppose I would. 

Rysdale. 
[Impressively.] Mr. Galloway, why don't you ad- 
vertise bread ? 

Galloway. 

Bread? 

[Clarence enters l. door with a typewritten 
sheet of paper in one hand and a volume of 
the Encyclopedia in the other. He hands 
the paper to Rysdale and never looking at 
his father exits l. door in a great hurry. 

Rysdale. 
[Reading from the paper.] Bread, the staff of life ; 
all through the ages bread always has been the chief 



140 ""STEP OUT— jack!" 

source of human energy. Bread alone will sustain 
human life better than any other one food. 

Galloway. 
[Not looking at Rysdale but deeply interested."] 
You're right. 

Rysdale. 
[Same business.] Without bread the human race 
could not exist. Statistics prove that the progress 
of every nation in civilization and achievement is in 
exact ratio to its consumption of bread. Among the 
poor, bread constitutes fifty per cent, of their diet; 
among the rich from six to twenty per cent. In the 
tenement districts, seventy-five per cent, of all the 
food consumed is bread in one form or another. 
Bread is the cheapest, most nutritious, most healthful 
food product known to mankind. It contains every 
needful constituent of human food. There is no 
waste. It all goes towards building bone, brain and 
muscle. Children thrive on it, grown people depend 

on it for health, strength and longevity, it — it 

[Rysdale has read all that Clarence has copied and 
now drops the paper.] Bread presents better and 
more natural possibilities for advertising than any 
product I have ever handled, and it can't be made 
without yeast. 

[Rysdale pauses to see what effect it is having 
on Galloway. Galloway is more greatly 
interested than he cares to show, as he 
doesn't fancy the idea of having a younger 
man tell him something new. 

Galloway. 
[After a pause.] I'll admit you have a bright lit- 
tle idea, but you haven't gone half far enough. 



''STEP OUT— JACK I" I4I 

Rysdale. 

[Promptly.] I know it. It is so big I can't begin 
to grasp it. 

[Galloway jumps to his feet and starts walk- 
ing about as he talks and the idea grows. 

Galloway. 
How much money do you think it would take? 

Rysdale. 
Two hundred thousand to start. 

Galloway. 
You forget this is going to boost the business of the 
wholesale and retail baker. Why should I put up all 
the money? 

Rysdale. 
I never thought of that. You shouldn't. The 
baker will be glad to cooperate. 

Galloway. 
We could get the Baker's Association interested. 
I could put in one or two hundred thousand, and get 
them to put in the same amount. In the big cities and 
in the little towns we could run the " ads " over the 
name of the baker who buys our yeast. I believe we 
could make the people eat more bread. 

Rysdale. 
[Enthusiastic] That's great, I know it. Tell the 
people about its food value, show them how it looks 
when It is baked right, rich, brown and appetizing, 
tell them a lot of things about it they never thought 
of before. 



142 ""STEP OUT— JACK !" 

Galloway. 
[Trying to restrain his enthusiasm.'] I believe it 
can be done, young fellow, I believe it can be done. 

Rysdale. 
It can be done and done big, and oh, Mr. Galloway, 
think, just think of the run for their money you can 
give these new-fangled food makers. 

Galloway. 
Do you think you are big enough to handle this for 
me? 

Rysdale. 
I am. 

Galloway. 
[Making up his mind.] Let's do it. Start to-day. 
There's going to be some excitement, let me tell you. 
Shake on it. [ They clasp hands. ] What commission 
do you charge? 

Rysdale. 
Fifteen per cent. 

Galloway. 
You're high. This will run into half a million 
before we're through with it. 

Rysdale. 
I have no apologies to make for fifteen per cent. 

Galloway. 
Lyons never charged me over ten per cent. 



'*STEP OUT— JACK ! " I43 

Rysdale. 
This is a big proposition. I couldn't handle it for 
less. 

Galloway. 
When can we start the ball a rolling? 

Rysdale. 
The minute you sign the contract. 

Galloway. 

Where is it ? 

[Rysdale goes to l. door, and opens it. 

Rysdale. 
Is the Galloway contract ready ? [Miss Williams 
appears at l. door and hands Rysdale two typewrit- 
'ten copies. Rysdale hands one to Galloway and 
goes around hack of his desk with the other. Miss 
Williams exits l. door closing it after her.] It's 
not very long but 

Galloway. 
[Adjusting his glasses.] I'm glad it's short. Don[t 
believe in contracts anyway. [As Rysdale reads his 
copy he keeps glancing at Galloway who reads it 
through quickly.] Huh, well, I could haggle over 
this if I wanted to. 

Rysdale. 
I know you could. Is there anything in particular 
to which you object? 

Galloway. 
No-o, but it's about the stiffest proposition I ever 
had put up to me. 



144 ''STEP OUT— JACK!" 

Rysdale. 
[With earnest sincerity and feeling.] You put up 
the money and then I'm the one who has the stiff 
proposition. I've got to put it through. I am going 
to give you all I've got, Mr. Galloway. Every ounce 
of creative and constructive energy I possess goes 
back of your campaign. We're going to create a 
bread appetite in the American people that will boost 
the price of flour and compel you to build another 
factory. 

Galloway. 
I'll build the factory. 

Rysdale. 
I'll build the demand. 

Galloway. 
Give me a pen and let's get started. [Rysdale 
hands Galloway a pen and Galloway dips it in the 
ink-well. He starts to write and then holds up the 
pen and looks at it.\ No ink ! 

Rysdale. 

[Looking into ink-well.] No ink? [Getting up and 
crossing l.] Whenever they clean my ink-well they 
always forget to fill it. [Opening l. door.] Clar- 
ence! Miss Williams! [Rysdale comes hack to his 
desk and Miss Williams enters, l. door, followed 
by Clarence.] Ink, ink, where's the ink? 

Miss Williams. 
Ink ? Why, how should I 

Rysdale. 
Where is the boy who cleaned my ink-well ? 



»ST£P OUT— JACK!'' 1 45 

Clarence. 
Why, I — the boy ? I think he's out on an errand. 

Rysdale. 
Please get me some ink, and when that boy comes 
back, fire him. 

Clarence. 
Yes, sir. I'll get some ink right away. 

[Clarence marches out, l. door, followed by 
Miss Williams. 

Rysdale. 
I'm very sorry, Mr. Galloway. I suppose we could 
use a pencil. 

Galloway. 
[Leaning back.] There is no particular hurry. 
[Looking about.] Rather a nice office. Everything 
looks brand new. 

Rysdale. 
Oh, you should see the typewriter. 

[Someone tries to enter at c. door hut it is 
locked. The strain is beginning to tell on 
Rysdale and he jumps. 

Galloway. 
What typewriter? 

Rysdale. 
I mean my typewriter. 

Galloway. 
[Laughing.] Oh, you mean your stenographer. 



146 ''STEP OUT—JACK!" 

Rysdale. 

No, no. I mean the machine. It's terribly old. 
You can see right here. [He holds the contract in 
front of Galloway.] You see, the face of the type 
is almost worn off. 

[Clarence enters l. door, closing it after him. 
He tries to conceal the excitement he feels. 

Clarence. 
Excuse me, a Mr. Seamons is out there and says 
he must see you at once. 

Rysdale. 
Tell him I am engaged. How about the ink ? 

Clarence. 
Miss Williams has gone after it. 

[Exit Clarence, l. door. 

Rysdale. 
We'll show the people a crisp, brown loaf of bread 
that will make their mouths water. 

Galloway. 
Like mother used to bake. 

Rysdale. 

Exactly. We'll make a partner out of the best 
baker in every town. 

[Enter Clarence, l. door, much worried. 

Clarence. 
He says he can't wait, that he's got to 

Rysdale. 
Can't wait? He's got to wait, and don't interrupt 
me again, please. 



STEP OUT—JACK!'^ I47 

Clarence. 



Yes, sir, but 



Rysdale. 

Don't argue, that's final. Tell him to come back 
this afternoon. 

Clarence. 
Yes, sir, but you see — he — he has — he has another 
party with him, who 

Rysdale. 
I don't care if he has the Chief of Police with him. 
\Ex'it Clarence, l. door.] Where was I? Oh, it's 
a cooperative plan from start to finish. It might not 
be a bad idea to figure on plans for a new factory 
at once, for we're going to double the baker's sales 
inside of six months. 

[A commotion is heard off l. The l. door is 
opened two or three inches a number of 
times and then slammed shut, indicating a 
struggle on the other side. Finally the l. 
door is jerked violently open and Collins, a 
big, burly Deputy Sheriff in full uniform 
enters, with Clarence hanging desperately 
on to him. Collins shakes him loose and 
gives him a push which sends Clarence 
flying out l. door. 

Collins. 
Come on, Mr. Seamons, and say, young feller [Off 
L. to Clarence.] another peep out of you and I'll run 
you in, see ! 

[Seamons enters, l. door, and Rysdale meets 
them both at c. 



148 "STEP OUT—JACK!*' 

Rysdale. 

What do you mean by forcing your way into my 
private office? 

Collins. 
[Brutally.] Is your name Rysdale? 

Rysdale. 
Yes, but 

Collins. 
Shut up. I'm talking now. Is this your office? 

Rysdale. 
Seamons, do you know anything about this? 

Seamons. 
Well, you see, I have got tired waiting 



Collins. 

We ain't here to answer questions; we're here to 
ask them. 

Rysdale. 
If you will kindly step into the other office, I'll 
answer all your questions in just a moment. 

Collins. 
Nothing doing. 

Rysdale. 
Can't you see I am busy ? 

Collins. 
You're not half as busy as you're going to be. 



""STEP OUT— JACK ! " 1 49 

Galloway. 
Officer, aren't you playing a rather high hand? 

Collins. 
Don't worry about me ; I know what I'm doing. 

Rysdale. 
\To Galloway.] Someone has made a very fool- 
ish mistake, Mr. Galloway. I only regret that it 
should happen while you are here. 

Galloway. 
[Getting out a cigar.] Oh, that's all right. I'll step 
out into the hall for a minute if you want me to. 

Rysdale. 
I'll settle this thing in two minutes. 

Collins. 

You bet you will. 

[Galloway goes to c. door and exits. Rys- 
dale goes with him and then comes back to 
Collins and Seamons. 

Rysdale, 
Well? 

Seamons. 
Can you pay that judgment of four hundred and 
fifty dollars? 

Rysdale. 
I'll pay it with interest if you will give me a little 
time. 

Collins. 
That ain't the question ; can you pay it now or can't 
you? 



I50 ''STEP OUT— JACK ! '' 

Rysdale. 
I just told you I would pay it 

Collins. 
Listen, we're going to settle this thing here and 
now. \Enter Lyons, l. door. 

Rysdale. 
What do you want now? 

Lyons. 
Where is Mr. Galloway? 

Rysdale. 

\Out of patience.] Look here, Lyons, you've 
guided these fellows here. You've done your duty, 
now get out and don't bother me again. 

Lyons. 
[Sneering.] Oh, very well. 

[Exit Lyons, l. door. 

Rysdale. 

I don't carry four hundred and fifty dollars around 
with me every day. On the first of the month, Sea- 
mons, I'll have fifteen hundred dollars coming in and 
I'll pay you out of that. 

' Collins. 

[Pushing Rysdale aside.] That settles it. Does 
this desk belong to you ? 

Rysdale. 
Yes, sir. 

Collins. 
Clean it out. 



''STEP OUT— JACK!" 151 

Rysdale. 
What? 

Collins. 
Get your papers together. I'll give you one minute. 

Rysdale. 
What for? 

Collins. 
I'm going 10 satisfy this judgment. 

Rysdale. 
Don't let him do it, Seamons. I'm just getting a 
start. By the first of the month I'll be on my feet. 
It'll break me if you do this. You never will get your 
money. 

Seamons. 
I'll get it right now. 

Collins. 
Do you want me to dump out these drawers my- 
self? 

Rysdale. 
I've got a big deal on, Seamons. It will all go to 
smash if you sell me out; it will ruin me. 

[During the above Collins begins jerking 
open the empty drawers. 

Collins. 

Hell ! there ain't nothing in it. 

[Collins slams the drawers shut and crossing 
up L. purposely bumps into Rysdale and 
then opens c. door. 



152 ''STEP OUT— JACK !" 

Seamons. 
You can't blame me, Rysdale. 

\As Collins comes hack to the desk, Miss 
Williams enters, l. door, with a small bot- 
tle of ink. 

Miss Williams. 
Here's the ink. 

Rysdale. 
[ Taking it. ] Thanks, 

Collins. 
He don't need ink any more. 

[An idea comes to Rysdale and taking Miss 
Williams by the arm, he draws her aside. 

Rysdale. 
[To Collins.] Just a moment, please. [To Miss 
Williams.] Run down to Mr. Wilder's office on the 
twelfth floor, ask him for a blank check out of his 
check book. Tell him to come up in a few minutes 
and I'll explain. Hurry as fast as you can; that's a 
good girl. 

Miss Williams. 
Mr. Wilder, twelfth floor, blank check. 

Rysdale. 
That's right. Hurry! 

[Miss Williams exits c. door quickly, closing 
it after her. Rysdale walks deliberately to 
his desk, planks down the ink-well, sits in his 
chair and smiles at Collins. 

Collins. 
What you grinning about? 



""STEP our— JACK I" 153 

Rysdale. 
It's all right, Mr. Deputy, you took me a little by 
surprise. Do you really think you want this furni- 
ture? 

Collins. 
Do I really think — say ! 

Rysdale. 
It's a mere matter of form, I know, but before you 
touch a thing in this office, I'll have to make sure of 
your authority. 

Collins. 
That's easy. [Collins takes a legal looking docu- 
ment from his pocket and turns hack his coat, show- 
ing his badge.] I'm a Deputy Sheriff, see. Here is 
Execution Assumpsit number two-twenty-nine, au- 
thorizing me to seize any and all of your possessions 
if necessary, at any and all times to satisfy this judg- 
ment. 

Rysdale. 
[Leaning back easily.] That's all right. But it 
doesn't give you the right to break in here and in- 
terrupt and interfere with my business. 

Collins. 
Aw, cut that stuff. 

[Collins takes hold of the desk and starts to 
drag it away. Rysdale jumps to his feet 
in a flash and speaks sharply. 

Rysdale. 
Wait! [Collins pauses in sheer wonder. Rys- 
dale looks him up and down.] You have a beauti- 
ful uniform, you're a fine big fellow, you must weigh 



154 ''STEP OUT— JACK 1'* 

over two hundred pounds and you may have the 
right to enforce the law, but you talk and act as 
though you made the law. 

Collins. 
Say, what are you trying to pull ? 

[Rysdale comes around his desk and gets up 
close to him. 

Rysdale. 
You play fair with me and I'll play fair with you, 
but just you try to crowd me and I'll get you and get 
you right. Keep in mind that you are not a king but 
a hired servant of the people; that I and every other 
business man pay out taxes so you can have a job. 
We don't hire you to insult and bully us before our 
friends and clients ; we hire you to protect us. 

Collins. 
[Giving ground.] Hold on now, hold on. 

Rysdale. 
You mustn't think you can get boisterous around 
here, just because I have an old debt on my hands and 
haven't four hundred and fifty dollars jingling in my 
pockets. Get off your high horse and talk this thing 
over quietly, [In a loud voice.] quietly, I say, or you'll 
find that I have friends in the City Hall. I'll take 
that beautiful uniform off your back and you'll go 
back to driving a truck, 

[Collins is intimidated but tries to conceal it. 

Collins. 
You can't throw that kind of a bluff into me. 

[Rysdale goes after him now harder than 
ever. 



''STEP OUT— JACK!" 155 

Rysdale. 
Just you start to tear up this office and see who's 
bluffing. [Pause.] If you weren't so fat you 
wouldn't be even funny. 

[Collins mops his brow and looks to Sea- 

MONS. 

Seamons. 
[To Rysdale.] Well, what are you going to do 
about it? 

Rysdale. 
I am going to pay you and get rid of you. 

Collins. 
Why didn't you say so in the first place? 

Seamons. 
You said you couldn't pay. 

Rysdale. 
I can't until I get a check. I just moved in here 
this morning. I'm all upset, can't find my check 
book. I sent my girl to a friend of mine in the build- 
ing who checks on the same bank. As soon as she 
gets back with a check I'll pay you. 

Collins. 
We want the cash. [Miss Williams enters, l. door, 
all out of breath, with a check in her hand. Rysdale 
takes and sits at his desk. Miss Williams exits, l. 
door. As Rysdale writes the check, Collins and 
Seamons confer together.] How do we know your 
check is any good ? 



156 "" STEP OUT— JACK ! " 

Rysdale. 
How do you know any check is good? If anyone 
was as suspicious as you are there wouldn't be any 
banks. [Offering the check.] Take it over to the 
bank and get your money. 

Collins. 
[Stopping Seamons from taking it.] And give 
you time to move out your stuff or lock us out. I 
guess not. 

Rysdale. 
If you fellows try to persecute me, I'll tear this 
up and smash the furniture before I'll let you have 
it. 

Collins. 
[Looking in the telephone book.] Go ahead, take 
his check. I'll soon find out if it's any good. 

[Seamons takes the check. 

Rysdale. 
You can't use that 'phone. 

Collins. 
Why can't I? 

Rysdale. 
You're taking up too much of my time. 

Collins. 
Where do you get that stuff ? 

Rysdale. 
I've been very patient with you fellows. You have 
your money. Now let me go ahead with my busi- 
ness or I'll call up the bank myself and have them 
stop payment on that check. 



**SrEP OUT— JACK r" 157 

Seamons. 
It won't take but a second. 

[Collins takes up the telephone and waits. 
Rysdale stares at him helplessly. Miss 
Williams enters, l. door. Rysdale crosses 
to meet her. 

Collins. 
[Rattling the hook.] Hello, hello, central, hello. 

Miss Williams. 
Mr. Wilder is out there. 

Rysdale. 
Please tell him to wait just a moment. 

Miss Williams. 

Yes, sir. 

[Miss Williams exits, l. door. Collins is 
fussing with the telephone and rapidly los- 
ing his temper. Rysdale goes around back 
of his desk. 

Collins. 
What's the matter with this 'phone? Out of or- 
der? 

Rysdale. 
The way you've been jerking this desk around, it's 
a wonder if it isn't. You have no right to use that 
'phone without my permission. 

[Seamons has been examining the telephone. 

Seamons. 
Did you drop your nickel in ? 



158 ''STEP OUT— JACK!" 

Collins. 
[Searching his pockets; very impatient.] No; is 
this a nickel 'phone? Got a nickel, Seamons? 

Seamons. 
[Same business.] No, sir, I haven't. 

Collins. 
Neither have I. 

Seamons. 
Haven't you a nickel or a slug, Rysdale? 

Rysdale. 
[Honestly.] I haven't, and I wouldn't give it to 
you if I had. 

Collins. 
You're a fine business man, you are. 

Rysdale. 
I told you in the first place you couldn't use that 
'phone. 

Seamons. 
There's a telephone at the cigar stand down-stairs, 
Collins ; we can use that. 

Collins. 
All right. I suppose your check is good anyway, 
but if it isn't, I'll be back here on the double quick 
with a warrant for you. [Seamons opens c. door. 

Rysdale. 
Now don't you try to frighten me again. [Collins 
exits, c. door, followed by Seamons. Rysdale closes 



""STEP OUT— JACK I'' 159 

the door after thetn and goes quickly to l. door and 
opens it.] Wilder, Mr. Wilder. 

[Wilder enters, l. door. 

Wilder. 
Hello, what's the excitement? 

[Wilder crosses to c. Rysdale speaks off l, 

Rysdale. 
Lock the outside door, Clarence, and, until I tell 
you, let no one in but your father. [Rysdale closes 
L. door and leads Wilder to the telephone.] Please, 
Wilder, call up your bank, make it good, that check, 
four hundred and fifty. 

Wilder. 
What check ? 

Rysdale. 
That blank check you gave me. Seamons was here 
with the Sheriff to clean me out. There's not a min- 
ute to lose. It's my only chance. I made them take 
it. I had to get rid of them ; they're down-stairs now 
telephoning the bank to see if the check is good. If 
}'0u don't hurry, they'll beat us to it. They'll be back 
here on the double-quick — I'll be ruined forever. 

Wilder. 
I thought I knew something about frenzied finance, 
but you've got me burled. 

Rysdale. 
[Frantic.] Oh, Wilder, call the bank; you've got 
friends over there. You can explain; tell them to 
honor that check, charge to your account, anything. 
Come on. Wilder, come on, it's my last chance. 



1^0 " Si EP OUT— J A CK ! " 

Wilder. 
[Sternly.] Don't you know that is very irregular? 

Rysdale. 
Of course it's irregular, but I'll pay it back, every 
penny, a hundred times over. 

Wilder. 
Have you closed with Gallov^ay? 

Rysdale. 
No, but I'm going to. 

Wilder. 
I think you are, and I will be as honest with you as 
you have been with me, I met Galloway out in the 
hall a few minutes ago. He won't buy a nickel's 
worth of Tungsten. 

Rysdale. 
I'm glad of it, for your own sake: but that 
check 

Wilder. 
[Interrupting.] Rysdale, I like your nerve; is that 
offer you made me still good? 

Rysdale. 
To be my partner? Of course it is. 

Wilder. 

[Taking up the telephone.] I'm on. Hello, opera- 
tor, hello. 



*^STEP OUT— JACK i'* l6l 

Rysdale. 
[Dancing about.] It's a nickel 'phone ; haven't you 
got a nickel ? 

[Wilder pulls out a handful of loose change. 

Wilder. 
I've got everything but a nickel. 

[Rysdale throws up his hands and dashes to 
L. door. 

Rysdale. 
[Shouting off l.] A nickel, a nickel, Miss Will- 
iams, have you got a nickel ? 

[Miss Williams enters, l. door, searching in 
her purse. Rysdale hovers over her. 

Miss Williams. 
Here's one ! 

Rysdale. 

Oh, you darling! 

[Rysdale takes the nickel and throws both 
arms about her and jerks her into a sudden 
embrace, then dashes to telephone and drops 
the nickel. Miss Williams is stunned at 
first, then pleased and walks coquettishly to 
L. door, humming a little air and arranging 
her hair. 

Wilder. 

[At 'phone.] Cortland eight hundred that's 

light City National ? Mr. Perkins, please 

Hello, Perkins this is Wilder fine, 

sir how are you Say, Perkins, I let a 

friend of mine use my check book he's drawn 

a check for 



i62 ''STEP our— jack!'* 

Rysdale. 
Four hundred and fifty. 

Wilder. 

Four hundred and fifty dollars his name is 

Rysdale. [Spelling it.] R-y-s-d-a-1-e. 

Rysdale. 
J. M. 

Wilder. 
J. M. Rysdale. What's that? Wait a minute. 
[To Rysdale.] He says his assistant is talking to 
the Sheriff right now. 

Rysdale. 
Go on, go on. 

Wilder. 
[Over 'phone.] Well, tell him it's all right. 
Charge to my account. Yes, and I'll bring Rysdale 
over and have him open an account. New customer 
for you. All right ; thank you, Perkins, good-bye. 

[As Wilder puts down the 'phone, Rysdale 
grasps his two hands and fairly dances him 
• around. 

Rysdale. 

Great, immense, you've saved the day. 

[Clarence looks in l. door. 

Clarence. 

Dad's here. 

Rysdale. 

Good boy, bring him in. 

[Exit Clarence, l. door. 



''STEP OUT— jack!" 163 

Wilder. 
Do you want me to go ? 

Rysdale. 

We're partners now; you've got to see this deal 
through. 

Wilder. 
Step out, Jack, and give 'er gas. 

[Enter Galloway, l. door. 

Rysdale. 
I hope you didn't get tired waiting, Mr. Galloway. 

Galloway. 
No, no. Hello, Wilder. [To Rysdale.] Have 
your friends gone ? 

Rysdale. 
[Smiling.] Yes, they've gone. 

Galloway. 
What's the matter, Rysdale, are you in some kind 
of trouble? . 

Rysdale. 
Why, no. 

Galloway. 
You were certainly looking worried when I left 
you. 

Rysdale. 

[Laughing.] Oh, that sheriff had a judgment 

against a fellow named Rysdale. A stupid blunder. 

He was going to seize my furniture to satisfy it. 

[Rysdale pauses, and a far-away look comes into 



1 64 *'STEP OUT— JACK I "* 

his eyes.] I used to know that fellow he was after. 
His name was Rysdale and he was a sort of down- 
trodden, weak-kneed individual. You met him once, 
Wilder. 

Wilder. 
Sure, I remember. 

Rysdale. 
He came into your office once, peddling books and 
coat hangers. 

Wilder. 

That's the fellow ; we bought his books and threw 
his coat hangers into the alley. 

Rysdale. 
That's the fellow he was after; it took me some 
time to convince him of his mistake. 

Galloway. 
[Satisfied.] That was a strange coincidence. 

Rysdale. 
Wasn't it? [Enter Miss Williams, l. door. 

Miss Williams. 
[With severity.] You — I think — your wife would 
like to see you. 

Rysdale. 
You think my wife? I'd like to see her. 

Miss Williams. 
[Head in air.] Oh, very well. 

[Miss Williams turns and exits, l. door, 
quickly. 



" STEP OUT— J A CK ! " 1 65 

Rysdale. 
[Follozving her.] Hold on there, who is it ? [The 
door slams in his face.] There's something the mat- 
ter with that girl. 

Galloway. 
[Laughing.] Why didn't you tell us you were 
married ? 

Rysdale. 

I think she's crazy. 

[As Rysdale gets back to c, Zoe enters, l. 
door. 

Zoe. 
Are you ready ? 

Rysdale. 
Oh, hello, it's you. 

ZoE. 
Good morning, Mr. Wilder. 

Wilder. 
Good morning. 

ZoE. 
Cynthia is waiting in the car. 

Wilder. 
She won't have long to wait — for me. 

Rysdale. 
We'll be ready in a few minutes. 

Zoe. 
Father, are you detaining Mr. Rysdale? 



1 66 ''STEP OUT— JACK!** 

Galloway. 
Maybe I am. I don't know. 

Rysdale. 
[Going hack to his desk.] No, no, I am just wait- 
ing for him to sign a certain paper — and by the way 
I have some ink now. 

ZoE. 
Please don't spoil our party. Father ; if Mr. Rysdale 
wants you to sign a certain paper, why don't you do 
it? 

[Galloway looks at Rysdale and smiles. 
Rysdale dips a pen in the ink and hands it 
to him. Galloway signs both copies of the 
contract. 

Rysdale. 
The four of us were going to lunch together, Mr. 
Galloway; won't you join us? 

Galloway. 
[Rising.] What do you want with an old fellow 
like me along? 

ZoE. 

[Putting her arm through his.] To pay the check,' 

of course. [Wilder has gone up and opens c. door. 

ZoE and Galloway are about to exit when she turns 

back.] Please go on. I must telephone to Mother. 

[Galloway and Wilder exit, c. door. Zoe 

comes down to telephone. 

Rysdale. 
[Feeling in his pockets.] I'm afraid I haven't a 

nickel. Just wait a moment and 

[Rysdale starts l. 



" STEP OUT— J A CK / " 1 6/ 

ZOE. 
\Go%ng up.\ Oh, never mind then, I'll wait. Jack, 
why did your young lady out there give me such a 
funny look when I asked for you ? 

Rysdale. 
{Coming close to her.] I want to know why she 
said it was my wife wanted to see me. 

ZOE. 

Did she say that ? I can't imagine. 

[They are standing r. of c. door, which is 
open, but out of range of anyone passing in 
the hall. 

Rysdale. 
[Quickly capturing both her hands.] It's all I've 
imagined since I first saw you. I'm not going to 
stand in line any longer either. 

ZOE. 

[Hesitating for a moment.] Oh, Jack! 

[She yields a little, looks up into his face and 
he takes her in his arms, as the curtain falls. 



CURTAIN 



il2E °'' CONGRESS 



018 348 492 8 '# 




